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70-83  BufTaloSt. 


G.  HENNEGKE  CO., 


207  Wabash  Avenue. 


ADDRESS  ALL  CORRESPONDENCE   AND   MAIL  ORDERS  TO    MILWAUKEE  OFFICE. 


o         o  o  o         o  o 


o         o  o         o  o  o 


t^-^ 


A  Complete  Index  to  Catalogue  No.  5  of  Florentine  Statuary  and  all  Supplements  to  same  up  to  Date. 

Florentine  Statuary  is  a  composition,  in  color  and  consistency,  closely  resembling  the  celebrated  Florentine  Terra 
Gotta,  hence  its  name.  VVhen  it  comes  from  the  drj'  kiln  it  is  of  a  pale  reddish  color,  ready  to  be  Allied  or  decorated. 
We  give  below  the  finishes  most  desirable. 

No.  1.     Florentine — A  Hat  grey  stone  color. 

No.  2.     Metal  Bronze — Dark  antique. 

No.  3.     Gold  Brilliant— Bronze. 

No.  4.     Terra  Cotta. 

No.  5.     Pure  White. 

No.  6.     Marble  White. 

No.  7.     Silver — Antique. 

Although  some  of  the  above  enumerated  finishes  are  more  expensive  than  others,  we  charge  the  same  price  for 
all.  If  not  distinctly  stated  with  order  what  finish  is  wanted,  we  will  always  finish  in  No.  1  Florentine.  No.  2  to  7 
finishes  we  make  to  order  only. 

Statuary  in  No.  5  Catalogue  and  list  A,  is  intended  for  decorative  purposes.  For  Statuary,  Busts,  etc.,  for  artists, 
designers,  etc.,  see  list  D,  and  '"Art  Studies,"  fourth  edition. 

No.  5  Catalogue  and  List  A  also  contain  many  desirable  modern  and  mediaivel  statues  and  busts  suitable  for 
art  studies,  and  are  therefore  listed  in  Catalogue  No.  4  and  list  D.  To  avoid  mistakes  those  statues  and  busts  that 
appear  in  both  catalogues  have  different  numbers,  so  we  can  understand  for  what  purpose  they  are  intended. 

In  ordering  mention  List  A,  and  give  name  and  number.  All  numbers  marked  with  a  star  are  also  made  in 
Ivorite,  see  List  C,  where  they  are  again  enumerated  with  prices. 

No.  .5  Catalogue,  containing  100  quarto  pages,  illustrating  and  describing  775  pieces  of  Statuary,  Busts,  Plaques, 
etc.,  will  be  mailed  upon  receipt  of  75  cents,  post  paid;  but  this  amount  will  be  allowed  on  the  first  order  of  goods, 
making  the  book  really  free  to  customers. 


No. 


Name. 


Ileiirht,  in. 


.•wl-A — Adoring  Angel,  liiinds  joined 11 

.551-B—      "  "  "  "     21 

re  I     Q  CI  t(  a  ((  OA 

5.50-A—      "  "       hands  folded.'.".'.'.".'.'.'.'.'.'.'.'.'.  11 

r»0-B—      "  "  "  "     21 

,5.50-C—      "  "  "  "     HO 

.565 — yEsculapius 86 

*814— Africa 15^ 

74.5— Air,  witli  Vase 42 

747 —    "    for   Lamp,   Gas  or  Electric  Lights, 

companion  piece  to  Water 42 

767 — Alpine  Hunter 20 

*i)ll — America 15^ 

7.50-A — Amor  and  Psyche 13 

750-B—     "  '•        28 

*7.56-A—     "  "        13 

*7.56-B—     "  "        16 

y5^>_(J II  ti  20 

808— Amor  and  Swan lOJ 

i»19— Angelo,  Michael 14J 

632-A— AntinouB 25 

632-B—        "         72 

638— Antique  Vase 18 

*878— Apollo 16 

872—     "       23 

829-A— Apollo,  Belvedere 37 

829-B—     "  "  i)0 

*798 — Ariadne  Deserted 17 

*9.50-A — Ariadne  and  Panther 15 

*ft50-B—      "  "  21 

806— Art 28 

*877—  "    16 

658— Arrotino 17 

*8i;^— Asia i5\ 

931— Atlas  with  Globe 49 

858— Audrey 18J 

*7.3f)— Aurora  to  suspend 16} 

*960—     "      1.5} 

733— Autumn 18 

718—      "       37 

*940—      "       10 

775—      "       10 

*574—      "       4 


Price.  No.                                   Name.                                        Heipht,  in.          Prfcp. 

n  50        97.3— Babes  in  the  Woods 24 

6  00      *907— Bacchus  and  Ariadne 19 

10  00        822— Bacchus m 

150        701 — Bas  relief  Horses  by  M.  Angelo 4 

6  00        9.58— Beethoven 20 

10  00        600— Belt  Bucklers 24 

12  00        600— Pedestiil 13} 

2  00        711— Berlin  Bell  Cow 10} 

16  00        607— Blessed  Virgin 15 

*.543- A— Blessed  Virgin 13 

10  00        .543-B—        "  "      33 

6  00        761— Bovs'  Pots 10 

2  00        613— Boxer 33 

3  00        522—    "       48 

10  00        791— Bull 20J 

6  00        717— Bv  Jingo 17 

8  00        846— Bvron  and  Maid  of  Athens 14 

12  00        706— Can't  You  Talk? 12 

6  00        855— Capital  .Joke 9} 

3  .50      *836— Cellini  Vase 18 

6  00        826— Ceres 44 

75  00        5.5:^— Child  Jesus 41 

1  50        94.5— (Christ  and  St.  John 10 

3  00        754— Cinderella 28 

7  50        871 — Circassian  Slave 14 

18  00        604— Comedy 1(> 

85  00      *757— Conflict  of  Authority 2*.) 

8  50      *8.56— Conquering  Jealousy 13 

7  00      *74;^— Con.solation .". 24 

12  00        .561— Cow  and  Calf. 11 

7  50        854— Critical  Moment 14i 

3  00        789— Croquet  Player 18 

7  00        874— Cupid ' 16 

2  00        784— Cupid  Betrayed 17 

12  00        779— Cupid  Captive. 16} 

3  50        922-A— Cupid  and  Psyche 18 

4  50        922-B—        "  '"'        28 

2  50        914— Cupid's  Jewelry  Box 4} 

3  00      *976— Cupid's  Repose 6 

12  00        895— Cupids  Supporting  Vase 10 

1  20        778— Cupid  Triumphant 17i 

1  25  583— The  Cvklop  Polyphemus,  throwing  Stone 

40  at  Odysseus 17  3  00 


12  (K> 

6  (K) 

30  (K) 

25 

4  ,50 

15  00 

5  00 

3  .50 

1  75 

1  50 

9  00 

1  00 

12  00 

18  00 

7  50 

3  .50 

4  50 

6  00 

4  .50 

4  (K) 

15  m 

14  00 

2  .50 

15  (m 

1  75 

3  00 

14  00 

3  00 

8  (HI 

5  .50 

7  .50 

4  .50 

3  00 

6  00 

6  00 

5  00 

10  00 

,  ft5 

3  00 

2  50 

6  00 

LIST    A— Continued. 


No.  Name.  Height,  in.  Price. 

690— Dawn,  bv  M.  Angelo 22  15  00 

688— Day,      ''         "           22  15  00 

612— Decorating  Grandma 9  2  00 

566— Demosthenes 36  12  00 

*879— Diana 16  3  00 

828-A— Diana 34  18  00 

828-B—    "      84  85  00 

842-A—    "      de  Gabii 28  7  50 

842-B—    "          "       72  60  00 

630-A— Discobolus,  Myron 17  6  00 

630-B—           "              "       72  85  00 

631-A—           "          Naucydes 25  5  00 

631-B—           "                 "          72  65  00 

975-A— Diver 15  1  50 

975-B—    "      24  4  00 

975-C—    "      27  6  00 

623— Doctor 15  3  50 

*844— Dolly  Varden 10  2  50 

714— Dove 7  80 

698-A— Dying  Gaul 9  4  00 

698-B—    ■"          "    14  7  00 

698-C—    "          "    84  100  00 

971— Eagle 16  6  00 

716— Emily  and  Doe 24  10  00 

942— End  of  Argmnent Ill  4  50 

*910— Europe 15^  2  00 

980— Euterpe 45  20  00 

*833— Evangeline 21  3  50 

780-A— Eve 14i  1  50 

780-B—  "    19  3  00 

691— Evening  (Twilight)  by  M.  Angelo 22  15  00 

988— Evening  Devotion 21  7  50 

618— Expectation 26  4  .50 

894— Fairy  Flower  Holder 13  2  .50 

982— FairV  Tales 20  8  00 

*SM)— Falconer 21  10  00 

*963— Family  Cares  (Bov) 12  150 

*964—      "           "     (Girl) 12  1  50 

758— Fast  Asleep 11  1  80 

82;^— Faun 60  30  00 

629—    " 29  8  00 

624—    "     24  7  00 

*920— Faust  and  Marguerite 25  12  00 

*8:37—        "                  ^'           20  6  00 

619-A— Fighting  Gladiator 26  9  00 

619-B—        "               "        41  15  00 

619-0-        "               "        72  75  00 

926— Finding  of  Moses 15|  .  3  .50 

886— First  Lesson 12  2  50 

*928— First  Love 13i  5  00 

665— Flamingo  Bovs,  Relief, Luca  Delia  Robbia,  39  6  00 

888— Flight  into  t^vpt 11  2  50 

881— Flora ..". 18  3  50 

722—    "     42  15  00 

930— Flying  Mercury 35  8  00 

82.5—     "             "      ■ 72  45  00 

*794— Forced  Prayer U  100 

838— Fortuna 23  12  00 

*898— Fount  of  Mercy 18  5  00 

*965— Friends 20  5  00 

766— Gamekeeper 20  6  00 

923— Girl  Bathing 20  3  50 

760— Girls'  Pets 10  1  00 

819— Goethe 19  3  50 

921— Goethe  and  Schiller 23  9  00 

967— Good  Morning 23  5  00 

968— Good  Night 23  5  00 

752— Grandfather 14  3  00 

790-A— Greek  Slave 14i  1  50 

*790-B—    "            "    19  3  00 

953-C—    "            "     40  15  00 

542-A— Guardian  Angel 14  2  00 

542-B—        "             '^     24  6  00 

542-C—        "  "      33       ■         14  00 

979—            "             "      16}  4  50 

845— Happy  Family 12}  3  50 

899— Haymaking 19}  7  00 

721— Hebe 42  15  00 

824-A— Hebe,  Thorwaldsen 25  5  00 

824-B—    "                 "             60  30  00 

824-D—    "                 "             50  25  00 

804-A—    "      Canova 36  12  00 

804-B—    "            "      62  35  00 

815— He  Loves  Me 20  9  00 

*993— Herald 21  10  00 

622— Hercules 29  8  00 

564— Herman  and  Dorothea 29}  14  00 

628-A— Hermes 30  10  00 

628-B—      "        92  100  00 


No.  Name.  Height.  In. 

556— Holy  Family 18 

*891—    "  "     12 

*549— Holy  Water  Font 10 

*83o— Home,  Sweet  Home 28 

*989— Hope  and  Fear 30 

541— Hope 13 

560— Horse  and  Colt 13 

536— Horse 22 

974— Hunted  Down 20 

81(5—1  Love  You ; 20 

850 — Imi)osing  on  Good  Nature 5} 

893— Indian  Warrior 15} 

972 — Innocence  and  Love 24 

*847— Innocence  Protected 21 

859— Is  That  You,  Tommy? lOf 

95.5 — Italian  Reapers 10} 

79V)— It  Cannot  be  Mended 20 

927— Italian  Flower  Girl 12 

6.5(>-A — Jason  27 

656-B—    "       72 

582— Juliano  de  Medici 36 

852-A— Kiss 11 

852-B—    "    20 

658— Knife  Grinder 17 

562— Laocoon 36 

563— Lion  Hunter's  Return 29} 

978-A — Lion  of  Luzerne 4} 

978-B—    "  "       11 

831— Lion 15 

925— Lion  Slaver 16} 

*5]4— Little  Sweetheart 13 

*781— Lohengrin 3!^ 

.581 — Lorenzo  de  Medici .36 

*7SI5— Lost  Breakfast 11 

*966— Lost  Found,  The 20 

*!»95— Love's  Device 21^ 

983 — Love's  Message 25 

853 — Love's  Mirror 14 

830-A— Luther,  Dr.  M 16* 

830-B—      "  "      23' 

!>96- A— Luther  Medallion 12i 

«H)-B—      "  "         19" 

832— Maidenhood 22 

*987— Mamma 10} 

*834— Marguerite 21 

707— Mars 18 

785 — Marv  and  Lamb 11} 

9a5— Match  Making 8 

.518— Maternal  Love 23 

9.52 — Meeting  of  Jacob  and  Joseph 16 

951 — Mentor,  Telemachus  and  Calypso 16 

800— Mercury 15} 

715—        "     ■   22 

916— Milton 14 

577— Mine 20 

727— Minerva 18} 

840-A—    "     42 

840-B—    "     90 

*568 — Morniug 12 

*572—        "        23 

620— Moses 36 

»889-A— Mother  of  Grace 13 

889-B—      "  "       24 

889-C—      "  "       36 

957— Mozart 20 

885— Music 12 

702—     "     Relief  by  Luca  della  Robia 6} 

669 — Napoleon 15 

944— Napoleon  1 12 

575 — Narcissus 26 

704- A— Nest  of  Cherubs 13 

704-B—    "  "        20 

*513— Never  Mind 13 

*569— Night lOi 

*571—     "      23 

689—     "      by  M.  Angelo 22 

905-A — Niobe  and  Daughter 21 

9a5-B—     "  "         26 

oA5_(j "  "  92 

730— Olympic  Plays,  Relief..V.'.V.'.'.".V.V.V.V.V.'.'.V.V.'."  11 

731— '     11 

777— On  the  Alert 9} 

909— Ophelia 22 

567 — Othella  and  Desdemona 16 

*544-A — Our  Ladv  of  Lourdes 13 

544-B—        "       ■  "        16 

544-C—        "  "        21 

544-D—        "  "        29 

875— Pandora 16 


Price. 

6  00 
2  50 
2  50 

13  00 

14  00 

2  50 

7  50 

6  00 
28  (X) 

9  00 

1  20 

7  .-)() 
12  00 

9  00 

4  (X) 

3  00 
3  50 

2  .50 
10  00 

KXI  00 

25  00 

1  25 

3  50 

7  00 
40  00 
14  00 

1  00 

5  00 

4  50 
9  00 

3  00 
12  00 
25  00 

1  00 

5  00 
800 

8  00 

4  00 
4  00 
8  00 
1  00 


.50 
50 
00 
50 
.50 
80 
90 
9  00 
600 

7  00 

2  00 
6  00 

3  50 

8  00 
2  50 

15  00 

80  00 

1  50 

6  00 

,30  00 

1  .50 

5  00 
12  00 

4  50 

2  50 
50 

3  00 
1  50 

6  00 
300 

7  00 

4  50 
1  50 

6  00 
15  00 

7  50 
10  00 

100  00 
00 
00 
50 
00 
50 
30 
00 
50 
600 
3  00 


LIST    A— C>   -itinued. 


No.  Name.  Height,  in. 

*986— Papa lOJ 

S43— Paul  and  Virginia ]3J 

5!H»—     "  ^        H" 

9;i5— Peace 12J 

936— Picnic  Time  (Girl) loJ 

937—      "         "     (Bov) 15| 

557— Pieta 20 

969— Plaving  Grandma 11 

977-A — Playing  Horses 11 

977-B—      ■"  "      15 

531 — Polybyinuia 45 

946— Pomona 27 

•5.52 — Praying  Samuel 15 

*890— Prince  Arthur  and  Hubert 18 

873— Prosperine 23 

*742— Protection 24 

*72()-A— Psyche 24 

720-B—     ■"      46 

538— Queen  of  Heayen 29 

539-A— Queen  of  Heayen 34 

5.S9-B—      "  "       48 

892-A—      "  "       16 

892-B—      •'  "       21 

7a3— Ramblers  (Girl) 9* 

782—        "  (Boy) 9J 

*713— Reading 14 

*76»— Rebecca 18J 

786— Red  Riding  Hood ]l| 

896 — Renaissance  Vase 12 

897—  "  "    12 

849— Retribution 6 

984 — Reyeries  of  a  Bachelor 8 

788— Rinker 18 

*729— Rock  of  Ages 17J 

924— Romeo  and  Juliet 24 

9.33—      "  "     13 

mo—      "  "     16 

918— Rubens 14i 

*77t>— Ruth 18j 

*.546-A — Sacred  Heart  of  Jesus 12i 

546-B—      "  "  "     21 

*.547-A—      "  "  Mary 12i 

.547-B—      "  "  "     21" 

.54.5—  "  "  Jesus .36 

548—  "  "  Mary 36 

*540-A— St.  Joseph 13 

54(>-B—         "         34 

540-C—         "         48 

558-A—         " 34 

55&-B—         " 48 

887-A—         "         16 

887-B—         "         21 

*821— St.  Joseph  and  Child 22 

970 — Satyr  and  Nyni])h 21 

820— Schiller .- ! 19 

*876— Science 16 

g0.5_      "      28 

*961— .Seaside ....'.  15 

917 — Shakespeare 14 

*oS5 — Siegfried  and  Chriemhilde 23 

655 — Silenus  and  Infant  Bacchus 22 

734 — Singing  Bovs,  Relief. 20 

768— Sketch  from  Nature 12 

627— Slaye 46 

943— Soldier  of  1876 14 

884—        "  1776 14 

576- A— Sophocles 36 

576-B—        "         84 

929— Spanish  Fruit  Girl 12 

868— Spoils  of  War 8 

*573 — Spring 4 

*93a-     "      ]0 

776-     "      10 


Price. 


1  00 

3  50 

2  00 

1  75 

2  5t) 

2  50 

10  00 

3  00 

4  50 

6  00 

20  00 

6  m 

3  00 

7  00 

7  50 

8  00 

4  00 

15  (X) 

7  00 

12  00 

25  00 

3  00 

6  00 

1  80 

1  80 

3  00 

3  .W 

1  80 

1  50 

1  50 

1  20 

75 

4  .50 

3  50 

10  00 

2  00 

3  00 

3  -50 

3  50 

1  20 

4  00 

1  20 

4  00 

10  00 

10  00 

1  50 

12  00 

25  00 

10  00 

25  00 

3  00 

6  00 

6  00 

9  00 

3  50 

3  00 

7  50 

5  00 

3  50 

9  00 

7  00 

5  00 

6  00 

15  00 

3  00 

3  00 

12  00 

00  00 

2  50 

3  50 

40 

1  20 

1  25 

o.  Name.  Height, 

7.32— Spring 18 

•5.55 — Standing  Angel 28 

5.54—        "            "     28 

*773 — Storm 18 

719 — Summer 37 

*939—       "         10 

*774— Sunshine 18 

.559 — Symphony  Relief. 17 

*811— Taking  the  Cream I9j 

772— Tancred's  Farewell 26 

*762— Tannhaeuser ail 

*755-A— Terpsichore 17 

755-B—           "          39 

*724-A—           "          17 

724-B—           "          39 

880—                "          18 

867— Terriers 7 

523— Three  Arts 19 

*771-A— Three  Graces 12 

*771-B—     "           "      21 

771-C—      "           "      29 

867 — Touchstone 18J 

603— Tragedy  16' 

763— True  Friends 14 

764—    "          "       14 

869— Tug  of  War 7 

*959— Twilight 1.5A 

992— Two  Wellers ll| 

787 — Una  and  Lion 15 

994— Uncle  Tobv  and  the  Widow llj 

870— Venus 14 

807— Venus  and  Adonis 29 

740-A — Venus  Canoya 23 

740-B—      "           "      ,34 

725 — Venus  Coming  from  Bath 35 

737-A — Venus  Crouching 17 

737-B—      "              "         48 

841— Venus  Genitrix 28 

827— Venus  Going  to  Bath 32 

954-A — Venus  de  Medici 30 

954-B—      "               "        36 

954-C—      "               "        62 

723-A—      "      deMilo 19 

723-B—      "            "        23 

723-C—      "           "        34 

723-D—      "           "        42 

723-E—      "           "        84 

*991—          "      in  Shell 18 

736-A—      "      Thorwaldsen 38 

736-B—      "                "            62 

802 — Victory,  to  suspend 37 

9.32-      "     ■     46 

fi02—      "          Rauch,  Standing 38 

601—      "             "       Sitting 44 

532— Vincent  Relief 11 

934— War 12* 

883— Washington 14 

748— Water,  for  Lamp,  Gas  or  Electric  Liglit, 

companion  piece  to  Air 42 

746— Water,  with  Vase 42 

839— Welcome .5<) 

*617-A—    "        17J 

♦617-B—    "  32' 

533— Wesley  Relief. 12 

759— Wide  Awake 11 

*941— Winter 10 

710— Wisdom 17 

962— Wolf  and  Lamb 14 

741— Wrestlers 16 

*712— Writing 14 

906— You  Dirty  Boy 12 

8.51— You  Naughty  Boy 14 


Price. 


3  00 

7  00 

7  00 

3  .50 

12  00 

1  20 

3  50 

3  00 

7  00 

16  00 

12  00 

3  50 

15  00 

3  00 

15  00 

3  50 

4  00 

6  00 

3  00 

7  00 

12  00 

3  50 

3  00 

4  00 

4  00 

3  50 

2  .50 

4  50 

6  00 

3  00 

1  75 

12  00 

4  00 

10  00 

12  00 

5  00 

50  00 

7  50 

12  00 

12  00 

15  00 

35  00 

3  50 

4  50 

10  00 

12  00 

50  00 

600 

15  00 

,35  00 

15  00 

20  00 

18  00 

20  00 

200 

1  75 

3  00 

16  00 

16  00 

30  00 

3  00 

10  00 

2  00 

1  80 

1  20 

450 

3  50 

10  00 

3  00 

3  00 

3  00 

All  Busts  marked  with  a  star  are  also  made  in  Ivorite,  and  are  again  enumerated  with  prices  in  List  C. 


Name.                                                     ■               Helfrht,  in.  Price. 

Aeschylos 27  $  8  00 

JSsculapius 1]  1  25 

"          , 23  ,5  00 

Agassiz 30  15  00 

Agrippa , 28  8  00 


Name.                                                                    Height,  in.  Price. 

*Ajax 12  1  50 

"     26  7  50 

"      36  15  00 

*Amor 17  3  50 

Angelo,  Michael , „ 'iS  8  00 


LIST    A— Continued. 


'     Name.  Height,  in. 

Antinous 27 

Antony,  Mark 28 

♦Apollo 12 

''       14 

*     "      23 

ii      ,32 

*Ariadne 10 

'"  12 

Aristotle 26 

Arrotino 30 

Auber 28 

Augustus,  (Youth) 23 

Augustus  Csesar  in  Armor 32 

*BaccliuB 10 

12 

30 

*Bach 17 

"     27 

Bacon 30 

Beatrice 12 

Beecher 30 

*Beethoven 11 J 

"  21 

Benevieni  Head 18 

Bismarck 22 

Boy  Laughing 12 

Boy — by  Donatello 19 

Brontafone 17 

Brutus 22 

*BurnB 13i 

"      16" 

*  "      18 

"      30 

*Byron 13 

"      23 

Csesar,  Julius 27 

Canova 30 

Calhoun 30 

*Chopin 16J 

Christ 24 

Cicero 22 

"    27 

Clay,  Henry 13 

"  29 

*ciytie !!!!!!!!!"!!!!!!!!;!!'.'.'.3.V.'."33^".'.V^!  14 

*  ^'      16^ 

*  "      23 

"      28 

*Coquetry 19J 

*Cupid,  on  pedestal 13 

*  ^' 17 

Dante 12 

*  "     16J 

"     26 

Darwin 26 

David 53 

Demosthenes 15 

22 

27 

*Diana,  of  Versailles 12 

"  "         32 

ofGabii ^/^.//..."!!"^™![!!!"".".""!!!!!!!  30 

*Dickens .• 12 

*  "       16} 

*  "       23 

*Diesterweg 16} 

26 

Diomede 28 

Dryden 28 

*Emerson 13} 

Eros 26} 

Euripides 27 

Faun 26 

Fighting  Gladiator 28 

Flamingo  Boy 20 

"     20 

Flora 14 

Franklin,  Beni 28 

Frederick  William 24 

*Froebel 16 

"  28 

*Gar<ieid!!!!!!!!!;"!!!!"!"Z^!!!.!!!;!!!!ll."'^^;!;Z.^!"!  12 

*  "        16 

"        30 

Girl,  by  Donatello 19 

Gladstone 12 

16 

23 


Price. 


8  00 

8  00 

1  25 

2  50 

5  00 

12  00 

1  00 

1  25 

8  00 

7  50 

10  00 

8  00 

5  00 

15  00 

1  00 

1  25 

10  00 

3  50 

8  00 

10  00 

1  25 

15  00 

1  50 

5  00 

3  50 

5  00 

1  25 

4  00 

3  50 

5  00 

2  00 

3  00 

3  50 

10  00 

1  50 

5  00 

8  00 

10  00 

10  00 

3  00 

6  00 

5  00 

8  00 

1  50 

8  00 

2  00 

3  50 

5  (X) 

8  00 

3  50 

1  50 

3  50 

1  25 

3  00 

7  00 

7  00 

35  00 

2  50 

5  00 

8  00 

1  50 

15  00 

12  00 

1  50 

3  00 

5  00 

3  00 

7  00 

8  00 

10  00 

1  50 

8  00 

8  00 

7  00 

8  00 

4  00 

4  00 

2  (X) 

8  00 

7  00 

3  00 

8  (X) 

1  50 

3  00 

8  00 

4  00 

1  50 

3  00 

5  00 

Name.  Height,  in. 

Gluck 16 

"      29. 

*Goethe 12 

»      '<      22 

Grant... !!!!!!!"!";^!!^!!!!!'.'.3'.'.'.V.'Z'.'.'.V"."7."."'.'.V.V!  17 

*  "  21 

"      ; 30 

Gutenberg 17 

*Ha!ndel 17 

*  "      22 

Hahnemann 10 

<i  23 

Haydn i""'"^/'^"^".'."^! ".".'.'."!! '.".V.'.!ZV.'"3  11} 

"       16} 

"  22 

Heien..!!!!!!!!!";!!!!!!''Z!!!!"'!!!!"!!!!!!!!!!!!!!!!"!!!!!!  27 

*Hermes 12 

*  a  22 

"  32 

Hero !!!!;!!!"!"!!!!"!!!"!!!!!!!!!!!!!!!!!!""!!!!"!!!!!  30 

Hippocrates 18 

27 

Homer 15 

"      23 

"      27 

Humboldt,  Alex 16 

"     26 

*Ideal  Bust 18 

Irving,  Washington 16 

Ms 21 

Jackson,  General 26 

Jahn — Father  of  Gymnastics 32 

Jefferson 30 

Juliano  de  Medici.     See  Medici. 
Julius  Csesar.    See  Csesar. 

Juno  Capitol 28 

"     Barberini 40 

20 

"     Ludovisi 36 

"       14 

Jupiter 11 

Jupiter — Otricoli 23 

40 

Laocoon 27 

*Les8ing 16} 

<<        27 

Leucothea 10} 

32 

♦Lincoln 12 

*  "         16 

30 

*Liszt 11} 

*  "    14 

23 

*  "     26 

"     30 

♦Longfellow 14 

Lorenzo  de  Medici 26 

♦Luther,  Dr.  Martin 15 

"  "  29 

Madonna  (Pieta),  v.  V.  Stoss 24 

Marcus  Aurelius 30 

Mark  Antony 28 

Medici,  Juliano  de 24 

Medici,  Lorenzo  de 26 

♦Mendelssohn 11} 

17 

*  "  ...; 20} 

24 

Mercury 30 

Meyerbeer 23 

♦Milton 12 

"       15 

"       17 

"       23 

Minerva 19 

Minerva  Giustiani 24 

i<  i<  32 

Moltke !.'.'.'.'.'.'.'.'.;!!.".'.'..". 27 

Montetiore,  Sir  Moses 10 

Moses 27 

♦Mozart 11} 

»      "      21 

Napoleon  1 16} 

27 

Neopolitan  Fisher  (Girl) 20 

^  "        (Boy) 20 

Nero 24 

Newton 17} 


Price 


3  00 

8  00 

1  25 

5  00 

300 

5  00 

8  00 

3  00 

3  00 

5  00 

1  25 

5  00 

1  25 

3  00 

5  00 

7  00 

1  50 

5  00 

12  00 

8  00 

3  00 

7  00 

2  50 

5  00 

8  00 

3  00 

7  00 

4  (X) 

3  00 

5  00 

7  00 

10  00 

10  00 

8  00 

20  00 

4  00 

15  00 

2  00 

1  25 

5  00 

25  00 

7  00 

3  00 

7  00 

1  00 

15  00 

1  50 

3  00 

8  00 

1  25 

3  00 

5  00 

800 

10  00 

2  00 

7  00 

2  50 

8  00 

600 

10  00 

8  00 

5  00 

7  00 

1  25 

3  50 

400 

5  00 

8  00 

5  00 

1  50 

2  50 

3  50 

500 

4  00 

5  00 

12  00 

800 

1  25 

8  00 

1  25 

5  00 

3  00 

7  00 

5  00 

5  00 

5  00 

3  50 

LIST    A— Continued. 


Name.  Height,  in. 

Newton 23 

Niobe  Mother 11 

32 

Niobe  Daughter 26 

Nun  Nurenberg 19 

Octavianus,  Ca'sar  Augustus 32 

Ompluile 20 

Paris 27 

Pericles 27 

*Pestalozzi 15J 

23 

"  27 

Plato [''.!!!;!!!]!]!""!!"'"!!11"!!!!!!]!!!!!!!!!!"!"  26 

♦Prudery 19J 

*Psvehe,  on  Pedestal,  Naples 13 

♦  "  "  "     17 

"    26 

Raphael 27 

Rossini 26 

St.  Bruno 10 

Seneca 26 

♦Schiller lU 

♦  "      22 

*Sehubert!!!!!!""!!!!!!!l!!!"!!!!!""!"!!!!!"'!!!!!!!!!!!!!  17 

23 

♦Schumann 16J 

27 

♦Scott,  Sir  Walter 13 

♦  "  "  18 

23 

29 

♦Shakespeare 13 

♦  "^         16 

♦  "  , 23 

29 

Sheridan 21 

Socrates 27 

Sophocles 27 

Sphinx 24 


Price. 


.5  00 

1  25 

15  (Kl 

7  00 

5  00 

15  00 

5  00 

7  00 

10  00 

2  50 

5  00 

8  00 

7  00 

4  (X) 

1  50 

3  oO 

7  (X) 

8  00 

7  00 

1  00 

8  00 

1  25 

5  (K) 

3  00 

5  m 

3  00 

7  00 

1  50 

3  .50 

5  00 

8  00 

1  50 

3  00 

5  00 

8  (X) 

5  00 

7  00 

10  00 

8  00 

Name.  Heigrlit,  in. 

♦Spinoza 16i 

Sumner '. 13 

Tasso 30 

♦TennvBon 15J 

Thackery 13 

Venus  Xkropolis 12 

"      Aries 28 

"      Canova 14 

24 

"      Capitol 31 

"      Capua 32 

"      Cnidos 25 

"      DeMedici 28 

♦  "      de  Milo 13 

♦  "  "         16i 

U 

Verdi 30 

Verus  Lucius 40 

Voltaire 27 

♦Wagner.  Richard llj 

20 

♦  "  "  23 

♦Washington,  George Hi 

"     m 

"       28' 

Washington  Irving.    See  Irving. 

♦Weber 17 

"      28 

Webster 13 

30 

AVilliam  1 24 

Youth,  St.  Peters 10 

20 

32 

■'       Supi)licant 16 

ofTarent 16* 

Zulu  Maid loj 

"     Youth 1.5| 


Price. 


3  00 

1  50 

12  00 

2  50 

1  50 

1  25 

7  00 

2  (X) 

5  00 

9  00 

10  (X) 

7  (K) 

7  (X) 

1  50 

3  00 

15  00 

8  00 

25  00 

8  (K) 

1  25 

5  00 

5  00 

1  25 

1  50 

8  00 

3  50 

8  (X) 

1  50 

8  (X» 

7  00 

1  50 

5  00 

15  00 

3  (X) 

3  CK) 

3  00 

3  00 

]BFR.A.c::p^E:Tr^  i^cDF=t  jblj^ht^. 


^/i\\ 


Name.  Height,  in.  Price. 

570-A— Acanthus  Bracket 9  5  00 

57f>-B—        "                "        11  6  00 

616— Angel  Bracket 11  1  50 

860— Bacchus  Bracket 10  1  80 

864— Cherub  Bracket 5  1  00 

882— Cupid  Bracket 17  5  00 

908— Eagle  Bracket 7  150 


Name.  Height,  in.  Price. 

981-A— Lvre  Bracket 14  4  00 

981-B—   ■    "               17  5  00 

862— Medallion  Bracket 11  2  00 

861— Oak  Leaf  Bracket 14  5  00 

865— Shell  Bracket.... 5J  100 

863— Scroll  Bracket 13  2  75 


Name.                                                                    Height,  In.  Price. 

578— Antique  Pedestal 40j  -8  00 

69(;—        "^             "        36  8  00 

705— Column  Pedestal 38  5  00 

749— Collosal  Pedestal 37  28  00 

700— Doric  Pedestal 43i  8  00 

792— Fluted  Pedestal 8§  2  00 

956-A— Fluted  Pedestal 20  5  00 


Name.  Height  in. 

956-B— Fluted  Pedestal 27 

738—          "           "         33 

866-A—     "            "         8 

sm-B—     "           "         8* 

728-A— Gothic  Pedestal 28' 

728-B-     "            "         33 

904— Wreath  Pedestal 10 


Price. 

7  00 

8  00 

1  25 

1  50 

6  00 

7  00 

2  00 

MILWAUKEE: 

79,  81  and  83  BUFFALO  ST. 


p-tE:    cz:cD., 

CHICAGO: 

No.  207  WABASH  AVENUE. 


statuary  Decorated  in  Natural  Colors. 

The  collection  of  decorated  statuary  enumerated  in  this  catalogue,  is  not  only  the  most  extensive,  but  also  the  best  produced  in 
this  coun<ry,  as  regards  artistic  merit  and  workmanship.  It  is  of  the  same  composition  as  the  Florentine  Statuary,  described  in  List  A 
and  Catalogue  No.  5.  In  the  selection  of  works  of  art  it  is  necessary  to  be  mindful  of  the  rule  that  the  best  is  the  cheapest  and  it  is 
only  the  best  which  will  survive  to  be  a  "thing  of  beauty  and  a  joy  forever."  The  improvement  of  taste  and  the  general  appreciation  of 
art  has  brought  into  prominence  the  use  of  colored  statuary  as  a  means  of  household  decoration.  The  Greeks,  with  the  keen  assthetic 
perception  which  characterized  them,  early  discovered  the  advantages  to  be  obtained  by  painting  statues  in  exact  imitation  of 
nature.  Color  brings  out  all  the  peculiarities  of  costume,  the  varieties  of  type  and  gives  the  expression  a  natural  and  life  like  reality. 
It  possesses,  moreover,  the  great  advantage  of  harmonizing  with  its  surroundings  and  produces  an  effect  which  charms  the  eye  and 
delights  the  imagination.  Having  the  best  of  facility,  and  manufacturing  in  large  quantities,  we  are  enabled  to  oft'er  these  high  class 
goods  at  a  very  reasonable  figure,  being  less  than  half  the  price  of  the  imported.  In  ordering  mention  List  B  and  give  number 
and  name. 


No.  1201. 

No.  1201 — Neapolitan  Musician  (boy). 
This  figure,  like  its  compan- 
ion, is  life  size  and  in  a 
sitting  posture.  The  pretty, 
childish  face  and  the  quaint 
costume  are  rendered 
with  minute  accuracy  of 
detail.  It  is  exceedingly 
realistic  and  true  to  nature; 
height,  33  in.;  base,  15  in., 
each,  820  00 


No.  696— Pedestal.  This  beautiful 
pedestal  is  especially  suit- 
able for  Nos.  1200  and  1201. 
It  is  antique  in  design  and  is 
furn  ished  either  in  colors  or 
in  dark  bronzes;  in  this  lat- 
ter style  it  is  so  perfect  that 
but  few  can  distinguish  it 
from  a  genuine  bronze 
stand;  heignt,  36  in.;  base, 
9  in each,    f  8  00 


No.  1200 

No.  1200— Neapolitan  Musician  (girl). 
This  life  size  figure,  in 
sitting  posture,  is  a  most 
pleasing  and  interesting 
subject.  It  is  a  tyoical 
little  Neapolitan  musician 
in  native  costume,  her  tam- 
borine  in  one  hand,  and 
the  other  extended,  to  re- 
ceive the  welcome  pennies, 
height,  33  in.;  base,  15  in., 
each,  120  00 


EACH    STATUE    OR    BUST    HAS    ON    AN    AVERAGE    EIGHT    DIFFERENT    COLORS. 


Price. 


No.  Name.  Height. 

593— Congratul  ator  (Girl) 16     in . 

594—  "  (Boy) 16     in. 

608— Loreley U}4  in. 

609— Boy  Carrying  Wood 18     in. 

610— Girl        "         Nest 18     in. 

613— Decorating  Grandma 9     in. 

614— First  Proht  14     in. 

1200— Neapolitan  Musician  (Girl) 33     in. 

1201-  "  ■'        (Boy)  32     in. 

657— Gnome  with  Instrument     12M  in. 

659—        "        "     Notes 12JI  in. 

679— Mephisto  as  Serenader 33     in. 

687—        "  as  Duelist   33     in. 

The  above  four  figures  are  finished  to  imitate  old  black 
walnut,  and  the  features  old  ivory.    Originals  in  Nurnberg. 


$5  00 

681 

5  00 

809 

5  00 

810 

4  00 

1313 

4  00 

1214 

3  00 

1317 

3  00 

1318 

20  00 

1219 

30  00 

1220 

3  00 

12-31- 

3  00 

1222 

6  00 

1237 

6  00 

1228 

1229 

3lack 

1230 

1331 

No. 


Name.  Helgrht.  Price 

-Duet 21J^  in.  $13  00 

-Orange  Peeler  (Boy) 19  in.  3  00 

-  "            "      (Girl) 19  in.  3  00 

-Moorish  Peddler  (Lady) 16  in.  5  00 

-  "              "       (Man) 16  in.  5  00 

-Arab  Musician  (Woman) 27  in.  25  00 

-  "            "         (Man) 27  in.  25  00 

-Algerian  Musician  (Man) 19  in.  6  00 

(Girl) 19  in.  6  00 

-Moorish  Flower  Stand  (Girl) 25  in.  10  00 

"      (Man)....  .  25  in.  10  00 

-Bridal  Group    16  in.  6  00 

-Spanish  Serenader 24  in.  12  00 

Dancer 34  in.  13  00 

-Chevalier  of  16th  Century  33  in.  10  00 

-Companion  to  above 33  in.  10  OD 


LIST    B— Continued. 


No.                             Name.  Height.  Price. 

1333— Mariner  (Boy)   18><^  in  f  i  00 

1234—      "         (Girl) leVj' in  4  00 

1235— Swedish  Peasants  (Girl) 19)^  in.  6  00 

1236—      "              "           (Boy) 19>^  in.  6  00 

1 239  -  Spanish  Minstrel  (Lady) 16  H  in .  8  50 

1240-      "               "         (Man) 16>^  in.  3  50 

124.5- Alpine  Shepherdess 25     in.  8  00 

1246—      "      Shepherd 25     in.  8  00 

1247- Girl  Feeding  Birds  21      in.  6  00 

1248— Boy         "            "     21     in.  6  00 

1249— Ethiopian  Water  Carrier  (Man). . .  29     in.  10  00 

12.50— Ethiopian  Water  Carrier  (Woman)  29     in.  10  00 

1253— Venetian  (Card  Receiver) 22     in.  10  00 

1254^        "       (Lady  Card  Receiver)  . .  22     in.  10  00 

1263— Moorish  Lady 17     in.  5  00 

1264—      "         Man 17     in.  5  00 

126.5— Actress 19     in.  6  00 

1266^Water  Carrier  (Youth) 19     in.  6  00 

1267—      "            "       (Maid) 19  .   in.  6  00 


No.  Name.  Helgrht. 

1268— Spanish  Minstrel  (Boy  on  Vase). ..  22 

1269—      "  "        (Girl      "         )...  22 

1270— Cavalier  and  Maid 20 

1271— Italian  Mu.sician  (Boy) 24 

1272—      "  "  (Girl) 24 

1275— Lute  Player     34 

1276— Hungarian  Gypsy  (Man) 27 

1277—       "  "       (Woman) 27 

1278— Danish  Musician  (Man)     36 

1279—      "  "  (Woman) 36 

1280— Moorish  Musician  (Man*  38 

1281—        "  '•  (Girl) 38 

1282— Figure  A  la  Grfevin,  Masquerader . .  14!^ 

1283—      "        "         "  "  ..  14>^ 

1284-Watteau  (Jroup 22 

1285— Home,  Sweet  Home 19 

1286— Nubian  Minstrel  (Maid) 19 

1287-      "       (Youth) 19 


Price. 


n. 

10  00 

n. 

10  00 

n. 

25  00 

m. 

12  00 

n. 

12  00 

n. 

25  00 

n. 

20  00 

m. 

30  00 

m. 

23  00 

m. 

23  CO 

m. 

20  00 

m. 

20  00 

m. 

3  00 

n 

3  00 

m. 

15  00 

in. 

12  00 

m. 

6  00 

m. 

6  00 

u 


T^ 


Decorated  in  Natural  Colors. 


No. 


Name. 


Height. 


Price. 


595— Jockey  (Maid) 14 

596—     "  (Youth) 14 

597— Marketing  (Boy) 18 

598—        "  (Girl) 18 

611— Flirtation— double  bust 19 

615— Betrothal  "  19 

674— Rubens     20 

676 — Renaissance 20 

682— Arabian 30 

683-Costume  Bust 10 

684— Costume  Bust 10 

692— Yachter  (Maid) 16)^ 

693-      "        (Youth)  16!^ 

694— Maid— Nubian 15>i 

695— Youth— Nubian 15>i 

902— Coquetry 19)$ 

903-Prudery 19>^ 

912-Neapolitan  Fisher  Girl 30 

913—       "  "      Boy 20 

530— Ideal  Bust 18 

1202-Duet  (Girl) 13 

1203—    "     (Boy) 13 

1204— Winter    21 

1205— Summer 21 

1306— Negro 26 

1207— Little  Soldier  (Girl) 14 

1308—    "  "       (Boy) 14 

1209— Rococo  (Girl) 14 


in. 

$3  00 

m. 

3  00 

in. 

12  00 

m. 

12  00 

in. 

15  00 

in. 

15  00 

in. 

13  00 

in. 

13  00 

in. 

7  50 

in. 

3  50 

m. 

2  50 

in. 

7  00 

in. 

7  00 

in. 

6  00 

in. 

600 

in. 

10  00 

in. 

10  00 

in. 

12  00 

in. 

12  00 

in. 

8  00 

in. 

7  50 

m. 

7  50 

m. 

7  50 

in. 

7  50 

m. 

18  00 

in. 

3  50 

in. 

3  50 

in. 

5  00 

No.  Name.  Height. 

1310— Rococo  (Boy) ...  14 

1212-Martin  Luther 16 

1211—      "  "       Wife 16 

1215-Arab  (Lady) 23 

1316—    "    (Man) 22 

1223— Arabian  Minstrels  (Lady) 17 

1324—      "  "         (Man) 17 

1225— Gypsy  (Boy) 13 

1226—      "       (Girl) 13 

1232— Bacchante 20>^ 

1237— Pierrot  (Boy) 26 

1238-     "        (Girl) 26 

1241— Sailor  Girl 14 

1242—    "      Boy 14 

1343— Papa 14 

1244  —Mamma 14 

1251— Abyssinian  (Man) 16 

1252—         "  (Woman) 16 

1255— Music  Teacher 18 

1256— Mandolin  Player 18 

1357— Adelgund  (with  Bunch  of  Keys). ..  14 

1258— Wolfram  (with  Key) 14 

1259— Old  Man,  with  mug 14 

1260—    "    Woman,  with  tea-pot 14 

1273-Soudan  Negro 20 

1374—      "        Negress 20 

1288— Nubian  GirlCMaBk) 12 


Price. 


n. 

5  00 

n. 

6  00 

n. 

6  00 

n. 

12  00 

n. 

12  00 

in. 

7  50 

n. 

7  50 

n. 

3  50 

in. 

■i   50 

n. 

10  00 

in. 

15  00 

n. 

15  00 

in 

3  00 

in. 

3  00 

in. 

3  00 

in. 

3  00 

m. 

5  00 

in. 

5  00 

in. 

9  00 

in. 

9  00 

in. 

7  50 

in. 

7  50 

in. 

7  50 

in. 

7  50 

in. 

7  50 

in. 

7  50 

in. 

3  00 

Photographs  of  these  124  pieces  of  decorated  statuary,  mounted  on  linen  for  $10.00  net,  single  photographs, 
15  cents  each. 

We  issue  an  Illustrated  Catalogue  of  Decorated  Animals  which  we  will  mail  on  application. 


MILWAUKEE, 

75,  8t  and  83  Buffalo  St. 


C.  HENNECKE  CO., 


CHICAGO, 

Ho.  207  Wabash  Ate. 


i\7-or.ith:   sT_A.Ti:jjPs.K.ir. 

Most  of  the  statuary  contained  in  this  list  is  illustrated  in  photogravure  book  and  Catalogue  No.  5. 

Ivorite  statuary  is  made  of  the  very  best  and  finest  powdered  alabaster.  After  leaving  the  casting  room  it 
undergoes  the  finishing  processes  in  the  various,  departments,  and  is  then  sent  to  the  kiln  rooms,  where  it  is  sub- 
jected to  an  intense  heat;  after  the  last  vestige  of  moisture  is  removed  it  is  immersed  in  a  hot  bath  of  stearic  acid,  which 
closes  all  the  pores,  thus  making  it  very  hard  and  smooth,  and  giving  it  a  fine,  delicate,  transparent  and  ivory  like 
finish.  Like  genuine  ivory  it  will  turn  slightly  yellow  with  age,  which  most  persons  prefer  to  the  glaring  white,  which 
is  offensive  to  the  eyes  and  does  not  bring  out  the  drapery  and  general  outlines  to  the  best  advantage.  This  has 
induced  us  to  "  tint  "  it  after  leaving  the  dry  kilns.  A  slight  tint  is  especially  desirable  in  draped  figures,  as  the  folds 
and  delicate  outlines  come  out  to  better  advantage.  We  will  send  it  "  tinted  "  unless  you  state  in  your  order  that  you 
prefer  "  pure  white." 

Photogravure  book,  containing  illustrations  of  Nos.  1  to  202  will  be  mailed  on  receipt  of  $1-00,  post-paid;  but 
this  an)0unt  will  be  allowed  on  the  first  order  for  goods,  making  the  book  really  free  to  customers. 

In  ordering  mention  List  C  and  give  number  and  name  of  piece  wanted. 

Ivorite  Busts  and  Figures,  not  larger  than  seven  inches,  will  be  sent  iis  saniples  by  mail  at  catalogue  prices 
post-paid. 


PLATE  A. 

No.  Name.  Heitrht,  iii.  Price. 

1— Christ 3  ^    .50 

2 — St.  .Tolui  and  Lamb 5  75 

3 — Adoriiifj  Angel 4  75 

4 — Child  Jesus (i  75 

5 — St  John  and  Landi (i  75 

6 — Adoring  Angel 4  75 

7 — St.  John  and  Lanih 3  50 

8— St.  John 3  .50 

9 — Faith,  Hope  and  Charity (i  75 

10— Mary  and  Christ ". 8  1  00 

11— Christ 8  1  00 

12— Mary 8  1  00 

13 — Christ  and  St.  John (i  75 

14— 6  75 

15 — Christ  and  Angel (>  75 

16— Blessed  Virgin 8  1  00 

17— St.  Joseph 8  ]  00 

18— Queen  of  Heaven 8  100 

19— Mother  of  Grace 8  100 

20— Christ  Praying (i  75 

21— St.  Antonius 10  1  50 

22— Mary  and  Child 10  1  50 

23— Child  Jesus 13  2  40 

24—     "        " 13  2  40 

25— St.  Joseph 10  1  50 

26— St.  Louis 10  1  50 

PLATE  B. 

27— Crucifixion,  with  Plush  Frame 18  15  00 

28— Baptism,           "        "            "     18  15  00 

Without  the  Frame,  each  |12  00. 

PLATE  C. 

29 — Battle  Scene  of  the  Goths  and  Vandals, 

with  Plush  Frame 17i  15  00 

30— Battle  Scene  of  the  Goths  and  Vandals, 

with  Plush  Frame 17J  15(H) 

Without  the  Frame,  each,  |12  00. 

The  originals  of  the  above  four  reliefs,  which  are  works  of  art 
of  great  merit,  are  carved  in  Ivory  and  are  in  a  private  collection 
in  Europe. 

PLATE  D. 

31 — Hebe,  Thorvvaldsen 6  1  25 

32 — Venus  Capua (i  i  25 

33^Hermes 6  2  00 

34 — Music  Surprised 9J  3  oo 

35— Venus  de  Milo 6  2  00 

36 — Venus  de  Medici 6J  1  25 

37 — Venus  Thorwaldsen 6J  1  ''5 

38— Petrarch 6J  1  25 


No.  Name.  Height,  in. 

39— Schiller 6 

4(>-G(jethe (i 

41— Dante 6i 

42 — Crying  Boy 6 

4.3— .Vchilles...: .5* 

44 — Mercury 7 

45 — Venus  fergamon 5i 

45— Pedestal..... 10} 

46 — Jason 7 

47— -Vntinous 5J 

48 — Laughing  Boy 6 

49 — (iiant 7 

50 — Wilhelm  I  in  Uniform 6 

51 —  "  Draped 4 

52—  "  (Bust  only) 6} 

52 — Bracket  only .". 13 

53— Fr.  Wilhelm 4 

54 — Bismarck 5J 

55 — Ariosto <>! 

PLATE  E. 

56— Minerva 8j 

57 — Ariadne  and  Panther Si 

58 — Venus  de  Milo o" 

5i»— Mars 81 

60 — It  can  not  be  Mended 8 

61— Psyche 8 

62— Venus 8 

6;^ — Amor  as  Blacksmith 8 

64— (ioethe 91 

a5— Go  to  Sleep 91 

(>(>— Italian  (iirl 13 

67— Italian  Boy 13 

68 — Faust  and  Marguerite 81 

69— .Schiller Oj 

PLATE  F. 

70 — Youn^  Augustus 14 

71 — Siegfried  and  Chriemhilde 131 

72— Hebe 12' 

73— Fire 141 

74— Clvtie  (Bust  only) 6', 

74— Pedestal 12 

75— Water 141 

76 — Minerva 12 

77 — Twilight .'. 15] 

78 — Young  Columbus 15.1 

79 — Napoleon  1 15 

SO — Aurora 15  \ 

PLATE  G. 

81— Monk 7 

82— Washingtoi 71 


Price. 


1  25 

1  25 

1  25 

1  25 

1  25 

1  25 

1  25 

2  00 

1  25 

1  25 

1  25 

1  50 

1  50 

1  00 

1  .50 

2  75 

1  00 

1  25 

1  25 

2  (X) 

9  00 

2  00 

2  00 

2  00 

2  00 

2  00 

2  00 

2  00 

2  00 

4  00 

4  00 

2  .50 

2  00 

12  00 

()  00 

3  00 

5  00 

1  25 

3  00 

5  00 

3  00 

5  00 

5  00 

5  00 

5  00 

2  00 

1  50 

LIST  C— Continued. 


Name.  Height,  in.  Price. 

83— Lincoln 7J 

84— Tasso 6J 

85— Monk 7 

86— Mozart 9| 

87— Beethoven 9i 

88 — Innocence 9 

8i>— Love 9 

90 — Shakespeare 8J 

91— Dickens 8J 

92— Moltke 10' 

93— Fr.  Wilhelm 10 

94— Martin  Luther 9 

9.^— Wilhelm  1 10 

!K>— Bismarck 10 

97— Leucothea lOJ 

98— Costume  Bust 10 

99—        "  "    10 

100— Beatrice 11 

PLATE  H. 

101— Flamingo  Boys,  relief. 20 

102—  "  "^        "    39 

103—  "  "         "     12 

104—  "  "         "    16 

105—  "  "         "    12 

PLATE  I. 

113 — Musical  Cupids 14 

113—        "  ''      without  base 

HI—        "  " 14 

111 —        "  "       without  hase 

115—        "  "       14 

115 —        "  "      without  base 

121-A — Cuind  (to  suspend) 6 

121-B—     ^-  "^  9 

121-C—     "  "  13 

119 — Five  Cupids,  l)v  Sir  Joshua  Reynolds lOJ 

106 — Cupid,  by  Sir  Joshua  Revnolds. 2J 

107—      "  "  "  '  "        2J 

109-2      "  "  "  "        2J 

116-3      "  "  "  "        8' 

118—      "  "  "  "        2i 

120—      "  "  "  "        2| 

112 — Sjjring 4 

114 — Autumn 4 

110— Cupid— Relief. 5 

117— Cupid 8 

108— Nest  of  Cherubs 6 

PLATE  J. 

PERGAMON  FRIEZES. 

121 J — Minerva  Group 18 

122 — Demeter  and  Persephone 20 

]2;i— Helios  Group 27 

124 — Hekato  and  Artemis 20 

125 — Jupiter  Group 18 

PLATE  K. 

126— Cicero 5<! 

127— ^schvlos 5i 

128— Polyhymnia 9 

129 — Psyche  of  Naples 9J 

130— Euterpe 9 

131— Gladiator 5J 

132— Euripides 5* 

133— Plato 5J 

134 — Demosthenes 5| 

135— Caligula 5J 

136— Venus  in  Shell 8 

137— Slave 6 

138 — jEsculapius 5J 

139— Homer 5^ 

140— Apollo 8 

141— Diana 8 

142— Jupiter 8i 

143— Juno 8J 

144 — Venus  de  Milo 8 

145 — Hermes 8 

146— Diana 13J 

147— Pudicitia 14 

148— Euterpe , 14 

149 — jEsculapius 13J 

15a-HvKiea 14 

151— Apollo 13J 

PLATE  L. 

152— Holv  Water  Font,  Natural  Shell 5J  1  00 

153— Ecce  Homo— Relief 13  5  00 


1  50 

1  25 

2  00 

2  00 

2  00 

2  50 

2  50 

2  (K) 

2  00 

2  .50 

2  50 

2  00 

2  50 

2  50 

2  50 

2  50 

2  50 

2  50 

5  00 

2  00 

3  (X) 

4  00 

3  00 

7  00 

6  50 

4  00 

3  50 

4  00 

3  50 

1  00 

1  50 

2  (X) 

2  50 

35 

3.5 

50 

1  00 

;« 

35 

80 

80 

75 

1  50 

2  00 


10  00 
12  00 
15  00 
12  00 
10  00 


1  25 

1  25 

2  50 
2  50 


50 
25 
25 
25 
25 
26 
50 
25 
25 
25 
2  00 
2  (K) 
2  00 
2  00 
00 
00 
00 
00 
00 
00 
00 
00 


2  00 

3  50 

60 

iX) 

1  20 

1  50 

1  25 

1  60 

2  CX) 

2  6f) 

3  80 

5  00 

6  25 

7  75 

9  50 

.30  00 

1  10 

1  45 

1  80 

2  40 

3  60 

4  80 

6  (X) 

7  50 

9  25 

28  (X) 

1  00 

1  25 

Name.  Height,  in.  Price. 

1.54— Holy  Water  Font,  Natural  Shell 7 

15.5—    "        "           "    10 

1.56— Crucifix]  f  4 

156 —       "        I  These  four  have  Crosses  painted  J  5 

1&5—       "         r        in  Rustic  Finish.                      |  6 
156—       "J                                                            [7 

1.56—       "        to  hang 9 

1,56—       "             "    10 

1.56—       "             "    12 

156-       "             "     14 

1.56-       "             "     16i 

156  -       "             "     19 

156  -       "             "     22 

1.56-      "             "    25 

1.56—       "             "     29 

156-       "             "     42 

156 — Corpus  only 9 

156—           "          10 

1.56—           "          12 

156-            "         14 

1.56  -            "         16J 

15(!-           "         19 

1.56-            "         22 

156-           "         25 

1.56-           "         29 

1.5()-           "         42 

157 — Ecce  Homo 6 

158— Holy  Water  Font,  Natural  Shell 7 

The  crucifixes  are   also  made  in  natural  colors  at  the  same 
prices  as  above. 

PLATE    M. 

159— Flifjht  into  Egyj)l .5}                 2  00 

160— St.  Bruno 9                  2  00 

161— St.  Anne  Teacliing  Marv 8                  1  25 

162— St.  Madelaine '. 11^                 2  50 

163— Adoring  Angel lOJ                3  00 

164— Crucitix 9                  1  55 

164—      "       10                  1  90 

164—       "       12                  2  30 

164-       "       14                  2  90 

164-       "       16J                4  10 

164-       "       19                  5  30 

164-       "       22                  6  .55 

164-      "       25                  8  ft5 

l(j4 "        29                   9  80 

165— Adoring' Aiigel '.'..'."'.'. ..'.'." ..... . ...... .....'. . . .... '. . .'  10^                3  00 

166 — Ecce  Homo 8 

167— Pope  Leo  XIII 11 

168 — Queen  of  Heaven lOJ 

169— Our  Lady  of  Lourdes 13 

170— Sacred  Heart,  (Jesus) 12 

171—      "            "        (Mary) 12 

172— Queen  of  Heaven 10 

PLATE  N. 

173— Tanagra  Figure 10                  5  00 

174— Moses 16                  7  00 

17,5— Tanagra  Figure 10                  5  00 

176—  "           "      9                  3  (X) 

177—  "           "      9i                5  00 

178—  "           "      8*                3  00 

179—  "           "      7i                3  00 

180—  "           "      9                  5  00 

181—  "           "      6                  5  00 

PLATE  O. 

Antique  Jugs,  copies  of  originals  in  the  principal  museums 
in  Europe.     These  Jugs,  Pitchers  and  Vases  will  not  hold  water. 


25 

00 
50 
40 
40 
2  40 
1  50 


82— Horn— to  suspend 23 

8:! — Antique  Tankard 9 

84—  "               "       9 

85—  "        Horn,  on  base 10 

86—  "        Tankard 9 

87—  "        Pitcher 14 

88—  "        Tankard 14 

89—  "               "       13J 

90—  "        Pitcher 14 

PLATE  P. 

191— Antique  Shield 27 

192— Cellini  Vase 18^ 

193— Antique  Jug 20 

194— Minerva  Medica 7J 


4  00 

3  00 
2  50 
7  00 
2  50 

4  (X) 
7  a) 
6  00 
4  00 


7  00 

8  00 
8  00 
200 


10 


LIST    C— Continued. 


Name.  Heitrht,  in. 

195— Antique  Plaque 16i 

196 — Young  Augustus 7 J 

196—      "             •■'        5 

PLATE  a. 

197— Goethe 9 

198— Willielm  II 10 


Prioe.  Name.                                                                      Height,  in.          Price. 

3  00      199— Schiller 9  2  50 

2  00      200— Antique  Plaque 21  8  00 

1  25  PLATE  B. 

201— Milton  Shield 36  12  00 

2  50  PLATE  S. 

2  50      202— The  Last  Supper 28  6  00 


Illustrated  and  described  in  Catalogue  No.  5  and  List  A. 


No.  Name.  Height,  in. 

814— Africa 15J 

767— Alpine  Hunter 20 

911 — America 15J 

756A— Amor  and  Psyche 13 

756B-    "                  ''       16 

616— Angel  Bracket 11 

638-Antique  Vase 8J 

878— Apollo 16 

798 — Aria<lne  Deserted 17 

950A— Ariadne  and  Panther 15 

950B-       "                      "        21 

877 -Art 16 

813— Asia 15i 

96fJ— Aurora ISJ 

7,39-      "      16i 

940— Autumn 10 

574-      "        4 

<)07— Bacchus  and  Ariadne 19 

54:^A— Blessed  Virgin 13 

836— Cellini  Vase 18 

8()4-Cherub  Bracket 5 

871— Circassian  Slave 14 

757— Contiict  of  Authority 29 

856— Conquering  ,Jealousy 13 

743  -  Consolation 24 

561— Cow  and  Calf. 11 

922A— Cupid  and  Psyche 18 

976-Cupid's  Repose 6 

975A- Diver 15 

97oB-    "     24 

879-Diana 16 

714— Dove 7 

844-Dolly  Varden 10 

908— Eagle  Bracket 7 

716— Emily  and  Doe .24 

910-Europe  15} 

833— Evangeline  21 

780A-Eve 14 

780B-   "   19 

569— Evening  (to  suspend) lOJ 

9i)0-Falconer 21 

9(i3-Family  Cares  (Boy) 12 

964— Family  Cares  (Girl) 12 

758— Fast  Asleep 11 

920— Faust  and  Marguerite 25 

837-     "                      "          20 

928  -First  Love 13^ 

888— Flight  into  Egypt 11 

965-Friends 20 

794-Forced  Praver 11 

898— Fount  of  Mercv 18 

838    Fortuna 23 

7()<>— Gamekeeper 20 

819 -Goethe 19 

790A    Greek  Slave 14 

790B-      "          "     19 

979— Guardian  Angel 16J 

84.>- Happy  Family 12} 

721-Het3e 42 

824A— Hebe    Thorwaldsen 25 

S)93— Herald 21 

891— Holy  Family 12 


Price. 


No. 


4  00 

83.5-] 

12  00 

989-] 

4  00 

847-] 

12  00 

852A 

16  00 

.514-] 

3  00 

781—] 

3  00 

795-] 

6  00 

9()6-] 

17  00 

995-] 

14  00 

987    ] 

24  00 

834-] 

6  00 

577-] 

4  00 

.568-] 

5  00 

572— 

9  00 

889  A - 

2  40 

.513-] 

80 

.571-] 

12  00 

9ft5A- 

3  00 

.567 -( 

8  m 

.544A- 

2  00 

986-1 

4  00 

843-] 

28  00 

936  -  ] 

6  00 

937- 

16  00 

890 -] 

11  00 

742-: 

10  00 

720A- 

6  00 

713 -] 

3  00 

769  -  ] 

8  00 

896-] 

6  00 

897— 

1  60 

729-] 

5  00 

915 -] 

3  00 

770-; 

20  00 

,540A 

4  00 

821- i 

7  00 

54(iA 

3  00 

.547A- 

6  00 

820-! 

3  00 

876-! 

20  00 

961-! 

3  00 

.5:K-f 

3  00 

768 -i 

3  60 

.573    i 

24  00 

9.38- 

12  00 

773-i 

10  00 

939  -  i 

5  00 

774 -i 

10  00 

811 -' 

2  00 

762-' 

10  (K) 

771 A- 

24  00 

771B 

12  00 

9.59-' 

7  00 

870- 

3  00 

723B 

6  00 

991— 

9  00 

617A- 

7  00 

617B- 

:io  00 

7.59- 

10  00 

941— 

20  00 

712- 

500 

Name.  Height,  in.  Price. 

Home,  Sweet  Home 28  26  (X) 

Hope  and  Fear 30  28  00 

Innocence  Protected 21  18  00 

Kiss H  2  50 

Little  Sweethearts 13  6  00 

Lohengrin 33  24  00 

Lost  Breakfast 11  2  Of) 

Lost  Found 20  10  00 

Love's  Device 21J  16  00 

Mamma 10|  2  (K) 

Marguerite 21  7  00 

Mine 20  16  00 

Morning  (to  suspend) 12  3  00 

23  12  fX) 

Mother  of  Grace 13  3  00 

Never  Mind 13  9  00 

Night 23  12  00 

Niobe  and  Daughter 21  15  00 

Othello  and  Desdemouii 16  7  00 

-  Our  Ladv  of  Lourdes 13  2  60 

Papa ". lOJ  2  00 

Paul  and  Virginia 13i  7  00 

Picnic  Time  (Girl) \oi  5  00 

"      (Bovj 1.5|  5  00 

Prince  Arthur  and  Hubert 18  14  fK) 

Protection 24  16  00 

Psvche 24  8  00 

Reatling 14  6  00 

Rebecca 18}  7  00 

Renaissance  Vase 12"  3  00 

"    12  3  00 

Rock  of  Ages 17J  27  00 

Romeo  and  Juliet 15  6  00 

Ruth 18J  7  00 

St.  Joseph 13  3  00 

St.  Joseph  and  Child 22  12  00 

Sacred  Heart 12}  2  40 

" 12}  2  40 

Schiller 19  7  00 

Science 16  6  00 

Seaside 15  10  00 

Siegfried  Parting  from  CliiJeuihilde 23  18  00 

Sketch  from  Nature 12  12  00 

Spring 4  80 

10  2  40 

Storm 18  7  00 

Summer 10  2  40 

Sunshine 18  7  00 

Taking  the  Cream 19J  14  00 

Tannhaeuser :B  24  00 

Three  Graces 12  6  00 

"      21  14  00 

Twilight 1.5A  5  00 

Venus  14  4  00 

-Venus  deMilo 23  9  00 

Venus  in  Shell 18  12  00 

-Welcome 17  6  00 

-  "        32  20  00 

Wide  Awake 11  2  60 

Winter 10  2  40 

Writing 14  6  00 


LIST    C— Continued. 
:^LJ^T^-I\zcDF=?i-rE:. 


11 


00 
00 
00 
00 
00 


Name.                                                                    Height,  in.  Price. 

Amor  17  $7  00 

Ariadne 10  2  00 

Ajax  12  3  00 

Apollo 12  2.50 

"       23  10  00 

BacchuB  10  2  00 

Beethoven 11 J  2  50 

"            21  10  00 

Byron  13  3  00 

Burns 13  J 

18 

Bach 17 

Clvtie  14 

''      16J 

"      23  10  00 

Cupid  on  Pedestal  13  3  00 

''      17  7  00 

Chopin  16i  6  00 

Coquetry  19|  8  00 

Dante 16|  6  (X) 

Diana  of  Versailles 12  3  00 

Difkens 12  3  00 

16}  6  (X) 

23  10  00 

Diesterweg 16i  6  00 

Emerson 13}  3  00 

Froebel 16  6  00 

Goethe 12  2  50 

22  10  00 

Garfield  12  3  00 

16  6  (X) 

Gluck 16  6  00 

Hiendel  17  6  (X) 

22  10  00 

Hermes  12  3  00 

22  10  00 


Name.  Helgbl. 

Ideal  Bust 18 

Lincoln 12 

"      16 

Luther,  Dr.  Martin 15 

Liszt , Hi 

"     14 

"     26 

Lessing 16} 

Longfellow 14 

Mozart Hi 

"      21 

Mendelssohn lU 

20| 

Milton  12 

Prudery 19} 

Psyche,  on  Pedestal,  Naples 13 

17 

Pestalozzi 15} 

Schiller Ill 

"      22 

Shakespeare 13 

16 

23 

Schubert ...  17 

Scott,  Sir  Walter 15 

"      "        "      18 

Schumann 16} 

Spinoza  16} 

Tennyson 1.5} 

Venus  de  Milo 13 

"       "     ."    16} 

AVagner,  Richard 11} 

"       23 

Washington,  George 11} 

Weber    17 


In. 


Price. 

8  00 

3  Of) 
6  00 

5  (X) 
2  .50 

6  00 
16  (X) 

6  00 

4  00 
2  .50 

10  00 

2  .50 
8  00 

3  fX) 
8  00 
3  00 

7  00 

5  00 

2  .50 
10  00 

3  00 

6  00 
10  00 

6  00 
3  00 

7  00 
6  00 
6  00 

5  CX) 
3  00 

6  (XI 
2  50 

10  00 
2  50 

7  00 


-I\/cz5i=?i~r^. 


No.  Name.  Height,  in.  Price. 

501}— Mary,    Christ    and    St.     John,    Thor- 

waldsen 9x9 

.502}— Amor's  Complaint  to  Venus  (stung  by  a 

Bee)  9x9 

505}-A-B-C-D-E-F-G-H-I  K-L-M  "-  Elgin 

Friezes  from  the  Parthenon.' 9x2J^    each, 

.50(5}  —Amor  and  the  Swan,  Thorwaldsen 9x7} 

507}— Amor    and    Young    Bacchus    Pressing 

Grapes,  Thorwaldsen 9x7} 

508}— Offering  to  the  Gods,  Flaxman.  .  .   ....  10x5  1 

509}-A- Spring,    Olrik 11x5}^  1 

509}-B— Summer,    "       .     Ilx5|  1 

.509}-C-Autumn,     "     11x5}  1 

.509}-D -Winter,      "     11x5}  1 

510}-A — Spring,  Hammeleff 11x5}  1 

510}-B- Summer,        " 11x5}  1 

510J-C-Autumn,         "         ]lx.5}  1 

5101-D  -  Winter,  "  11x5}  1 

511}— Ages  of  Love,  Thorwaldsen  18x7}  2 

511}-B— Ages  of  Love,        "  35x15  10  00 

512}— Shepherdess  with  Nest  of  Cupids,  Thor- 
waldsen      10x9  1  50 

515}— Priamus    begs    Achilles    for    Hector's 

Corpse  20x10}  2  50 

516} — Abduction  of  Briseis  from  Achilles  by 

Agamemnon's  Soldiers.        '. 20x10}  2  50 

517}-  A— Spring,  Thorwaldsen 10  1  25 


II  50 

1  50 

75 
1  25 

1  25 

25 
00 
00 
00 
00 
00 
00 
00 
00 
25 


No.  Name.  Height,  io. 

51 7}-B— Summer,  Thowaldsen 10 

517}-C-Autumn,  "  10 

517}-D-Winter,  "  10 

519} — Christmas  Joy 12 

520}— Musical  Cupids 7 

521}- A— Psyche  with  Cupids 21  x9} 

521}-B "  "  "  21x9} 

801}-A-B-C-D-E-F-FlamingoBoyB.'."..'.'.'.'.'     7x5}    each, 

592-  Cellini  Plaque 27 

803- A— Morning,  Thorwaklen 5} 

803-B-        "  "  10 

803-C—        "  "  22 

812- A— Night,  "  

812-B—    "  -       "  

812-C—    "  "  

997-Spring 10 

998— Summer 10 

,999— Autumn 10 

lOOO— Winter 10 

559— Symphony 17x13 

730— Olympic  Plays,  Luca  Delia  Robbia 11x11 

731—        "  "  "  "  "      11x11 

734-Singing  Boys,        "  "  "      .  ...  20x15 

702— Music  "  "  "      ....    6} 

701 — Horseheads,  M.  Angela 4 

534    Consolation 23x15} 


Price. 


5} 
10" 
22 


1  26 

1  25 

1  25 

1  75 

1  (H) 

3  00 

3  00 

1  25 

7  00 

1  CX) 

1  25 

6  00 

1  00 

1  25 

6  (X) 

1  25 

1  25 

1  25 

1  25 

6  00 

4  (K) 

4  (X) 

10  00 

1  00 

50 

6  00 

C.  Hennecke  Co., 


MILWAUKEE: 

79,  81  and  83  Buffalo  Street. 


CHICAGO: 

207  Wabash  Avenue. 


Washing  Statuaby. — No  person  would  think  of  washing  Marble  or  any  other  Art  Statuary;  as  without  great 
care,  you  might  do  it  an  irreparable  injury.  Custodians  of  Art  Galleries  seldom  dust  statuary,  but  when  they  do, 
they  exercise  the  greatest  care,  in  order  to  avoid  polishing  projecting  portions,  as  they  become  marked  or  "dust 
polished ; ''  this  is  very  difficult  to  remove,  and  always  leaves  a  stain. 

Never  handle  or  even  touch  statuary  of  any  material,  with  the  bare  hand,  as  you  will  surely  leave  marks.  Handle 
lightly,  with  soft  tissue  paper,  cotton,  or  cloth,  always  take  hold  at  the  bottomof  base  with  one  hand  when  you  lift 
statuary. 

To  answer  the  many  inquiries  we  receive,  "  can  your  statuary  be  washed  ?  "  we  will  say  that  our  No.  1  Florentine, 
No.  4  Terra  Gotta,  No.  5  Pure  White,  No.  6  Marble  White,  Decorated   and  Ivorite  Statuary  can  be  washed. 

Directions. — Thoroughly  dust  off"  the  piece  to  be  cleaned,  before  applying  water  and  Hand  Sapolio.  (Enoch 
Morgan's  Sons).  Take  a  soft  sponge,  dampen  same  in  luke-warm  water  and  rub  the  sponge  on  a  cake  of  Sapolio;  as 
soon  as  a  good  lather  is  produced  which  ought  not  to  be  too  strong,  apply  to  the  piece  and  place  to  be  cleaned.  Only 
a  GENTLE  rubbing  is  required;  never  rub  the  cake  of  Sapolio  on  the  statue  to  be  cleaned.  For  parts  that  cannot  be 
reached  with  the  sponge  or  cloth,  a  small  bristle  brush  may  be  used.  Commence  at  the  top  and  do  not  leave  until 
finished.  Do  not  give  the  water  a  chance  to  dry  on  the  statue  else  it  is  apt  to  get  spotted.  Clear  water  should  be  used 
freely  for  rinsing,  after  the  cleaning  has  been  eff"ected  with  Sapolio.  Dry  with  clean,  soft  linen  cloth,  gently  pressing 
against  the  statue  with  same  to  take  off  any  moisture  that  may  remain  on  the  surface.  All  Bronzed  Statuary,  Nos.  2, 
3  and  7  will  lose  some  of  its  lustre  if  washed,  but  it  can  be  kept  clean  by  dusting,  and  fly  specks  can  be  removed  with 
moistened  sponge  or  soft  cloth. 

Catalogue  No.  5 -Statuary,  etc.,  for  Ornament — contains  100  quarto  pages,  substantially  bound  with  flexible 
Leatherette  Cover,  illustrating  and  describing  465  pieces  of  Statuary  and  236  Busts  of  celebrated  personages  from  the  earliest 
period  up  to  the  present  time,  enumerated  in  list  A.     75  cents,  post  paid. 

Catalogue  No.  4,  Art  Studies  for  Design. —  A  book  of  162  quarto  pages,  containing  illustrated  essays  on 
Manual  Training  and  Industrial  Education,  Art  Education,  Drawing,  ^Iodeling,  Clay  Modeling,  The  Development  of 
the  Vase,  Greek  Pottery,  Wood  Carving,  Original  Composition,  Grecian  Mythologj',  Biographical  and  Mythological 
Notes,  with  834  illustrations;  besides  describing  1068  Antique  Statues  and  Busts,  Models,  Anatomical  Studies,  Parts  of 
the  Human  Body  from  Nature,  Conventional  Leaf  and  Flower  Fonns,  Vases,  Architectural  and  Historical  Ornaments, 
Animal  Forms,  etc.,  for  Colleges,  Schools,  Academies  of  Design,  Amateurs  and  Artists,  enumerated  in  List  D.  To  add 
to  its  value  as  a  book  of  reference,  we  have  appended  comprehensive  notes,  giving  a  general  descrijition  of  each  Statue, 
name  of  Sculptor,  when  and  where  found,  present  place  of  original,  mythological  history,  biographical  sketches,  etc. 
The  elegant  illustrations  together  with  the  text,  make  it  a  more  valuable  and  complete  book  of  reference  for  artists, 
designers,  art  students,  or  any  person  wishing  to  cultivate  a  taste  for  the  beautiful,  than  any  art  book  published.  Will 
be  mailed  upon  receipt  of  81.50,  post  paid.     No.  4  and  5  Catalogues  to  one  address,  82.00,  post  paid. 

Book  of  Photogravure  Plates,  containing,  203  illustrations  of  Ivorite  Statues,  Busts,  Reliefe,  etc.,  enumerated 
in  List  C  will  be  mailed  on  receipt  of  81.(X) — but  credited  on  the  first  order  for  goods. 

Experience  has  taught  us  that  an  edition  of  100,000  Catalogues  would  fail  to  supply  the  demand,  should  we 
furnish  them  gratis  to  all  applicants,  we  are  therefore  compelled  to  make  a  nominal  charge  for  our  Catalogues;  but  the 
amounts  paid  will  be  allowed  on  the  first  order  for  goods,  making  the  books  really  free  to  customers. 

Statuary  manufactured  by  us  can  be  procured  of  all  first-class  distributers  of  art  goods. 

To  protect  ourselves  and  customers  from  poor  imitations,  we  mark  each  Cast  with        ^^^TpNlSTppTr* 
the  following  stamp:  /q.  -j^lJiN^Uit^  ^ 

In  the  absence  of  positive  shipping  directions,  we  send  goods  in  the  manner  we  {♦MANUFA0TUEFR9  •) 
consider  the  most  advantageous  to  our  customers.     Having  the  best  of   facilities,   and   V  ■^^-—         ■"^-   ' 

manufacturing  in  large  quantities  we  are  enabled  to  offer  these  high  class  goods  at  a  very     ^'^^^V^n^^z-zsi'ita'^' 
reasonable  figure.     Additions  to  our  stock  are  being  constantly  made  and  illustrations 
and  lists  of  the  same  will  be  mailed  to  our  customers  from  time  to  time. 

Having  correspondents  in  all  prominent  European  art  centres,  we  can  furnish  any  Statue,  Bust,  etc.,  not 
enumerated  in  this  book.  For  Marble,  Terra  Cotta,  Bronze  and  other  Statuary,  we  would  respectfully  refer  to  our 
other  Catalogues.  To  parties  not  acquainted  with  our  goods  and  finish,  we  will  send,  post-paid,  the  beautiful  figures. 
Spring  and  Autumn,  in  No.  1  to  7  finish  for  50  cents  each,  in  No.  9  finish  for  75  cents  each. 

Busts  or  figures  in  Ivorite,  in  list  C,  under  eight  inches  high  can  be  sent  as  samples  by  mail  at  catalogue  prices, 
post-paid. 

c.  hknneicke;  co. 

MILWAUKEE:  CHICAGO: 

79,  81  and  83  Buffalo  Street.  207  Wabash  Avenue. 


ESTABLISHED  1865. 


INCORPORATED  1889. 


fieNNecKe's 


® 


ART 


o)    1      ® 


@ 


FOURTH  EDITION-REVISED  AND  ENLARGED. 


e.  HeNNeeKe  eo.. 


CHICilGO,  Ibb.,  U.  §.  ft. 


MibWisitJKee,  Wis.,  M.  §.  ft. 


THR 


'^•y    OP 
[UyTyF.R^TT 


Hi 


y    Kntered  according  \ 
/  to  Act  of  Congress  in  the  •# 
f  year  1889,  by 

C.  HENNECKE  CO.,         j)^ 


■ffl^^lWl^^'^l  *"  the  office  of  the  Librarian  /^^'s^^^ 


of  Congress,  at 
ashington. 


? 


.    H,    VEWDALt   a  SONS  CO, 


MILWAUKEE 


/kt^' 


@      @ 


^llf^^^ 


©      ®      @ 


liE-fiLlD     CjRl.EiE:i^UX.I*"!ir     IBElFOIiE     OI5.I3EE5.IITC3r. 


i-N  ordering  from  this  book  designate  it  as  Catalogue  No.  4,  or  list  D;  order  by  Number  and  give  price 
of  article,  thus  avoiding  errors  where  Numbers  are  not  plainly  written.  All  Casts  that  are  made  in 
piece  moulds  will  be  sent  with  cast  lines,  unlessodistinctly  stated  in  the  order  without  cast  lines. 
Where  Casts  are  ordered  "tinted" — No.  5  pure  white,  or  No.  6  marble  white — we  make  an  additional 
charge  of  10  per  cent,  for  same. 
f^sJj  \d^(j^  Directions  for  washing  "  Tinted  Plaster  Casts"  and  for  cleaning  Plaster  Casts  not  tinted,  see  list  E. 

^•~~^/l    V\T^^     All  Casts  enumerated  in  this  book  are  named  in  the  Classified  Index,  pages  86  to   92,  except  Casts 
of  Flowers,  Fruit,  Leaves  and  Parts  of  the  Human  Body  from  Nature. 

Nude  Figures,  Antinous,  Faun,  Hercules,  etc.,  will  be  sent  with  an  adjustable  leaf.       Statuary 
manufactured  by  us  can  be  procured  of  all  first-class  distributers  of  art  goods. 
To  protect  ourselves  and  customers  from  puTor  imitations,  we  mark  each  Cast  with 
the  following  stamp : 

In  the  absence  of  positive  shipping  directions,  we  send  them  in  the  manner  we 
consider  the  most  advantageous  to  our  customers.  Having  the  best  of  facilities,  and 
manufacturing  in  large  quantities  we  are  enabled  to  ofFer  these  high  class  goods  at  a  very 

reasonable  figure.  Not  only  have  we  a  large  stock  to  select  from,  but  our  casts  have  also  the  full  and  unqualified  endorse- 
ment  of  the  foremost  authorities  on  educational  matters.  Additions  to  out  stock  are  being  constantly  made  and 
illustrations  and  lists  of  the  same  will  be  mailed  to  our  customers  from  time  to  time. 

Having  correspondents  in  all  prominent  European  art  centres,  we  can  furnish  any  Statue,  Bust,  etc.,  not  enumerated 

in  this  book.     For  Marble,  Terra  Cotta,  Bronze  and  other  Statuary,  we  would  respectfully  refer  to  our  other  Catalogues. 

Prices  and  Numbers  given  in  this  book  cancel  all  former  lists  and  quotations.     Orders  promptly  and  carefully 


i*MANUFAOTUKERS.*y 


filled. 


Respectfully, 


t^] 


MILWAUKEE  AND  CHICAGO. 


irv"' 


sUiiisd  "i'j^aijjiJijJ  lisiil  JjjiJiiN^-lviaJ  iiKiii^srxii^ijo 


BY    PKINCIPAL   CHAS.    F.    ZIMMERMANN,   MILWAUKEE. 


T  must  be  evident  to  the  most  casual  observer, 
that  great  changes  are  going  on  in  the  social  aiifl 
^^_  industrial  life  of  our  ])eoj)l('.  The  demands  made 
Qj^fj  upon  each  individual  in  order  to  fill  his  position 
in  life  creditably  and  with  a  fair  i)rospect  of  success 
are  greater  now  than  ever  before.  It  is  not  likely 
that  this  general  activity  and  progressiveness  in 
the  commercial  and  industrial  world  will  cease, 
consecjuently,  the  necessity  for  an  education  that 
is  many-sided,  that  will  equip  the  individual  with  in- 
telligence, skill,  and  power  to  grapple  with  the  difficult 
problems  of  life. 

If  we  carefully  examine  the  course  of  study  prescribed 
for  our  common  schools,  we  nuist  come  to  the  conclusion 
that  the  training  provided  is  inadequate  to  the  demands 
made  upon  our  youth  after  they  leave  school.  All  the 
exercises  in  school  call  for  the  active  use  of  the  brain,  to 
the  exclusion  of  the  physical  activities.  If  we  wish  to 
educate  rightly,  we  must  alternate  mental  with  physical 
activity  from  childhood  up  through  all  the  years  of  pre- 
paration for  the  duties  of  life.  Any  movement,  therefore, 
that  has  the  improvement  of  our  school  curriculum  in 
view,  and  is  based  vipon  sound  psychological  and  peda- 
gogical principles,  should  receive  attention  and  study. 

Those  who  have  studied  the  progress  of  education  in 
America  in  the  last  decade,  must  have  noted  with  much 
satisfaction  the  gradual  introduction  of  objective  methods 
of  teaching,  and  the  addition  of  drawing  and  manual 
training  to  the  course  of  study  in  the  High  Schools  and 
grammar  schools  of  our  large  cities. 

Hand-work  is  mind-work  in  a  higher  degree  than  most 
persons  are  willing  to  admit.  The  success  of  manual  training 
is  more  often  dependent  upon  the  intelligence  of  the 
individual  than  vipon  the  hand.  The  hand  can  become 
skilful.  It  can  become  the  servant  of  the  mind.  The 
lowest  kind  of  work  or  labor  need  not  exclude  tliought.  It 
is  not  the  unintelligent  copying  of  a  model  that  is  aimed 
at,  but  the  ti'aining  of  the  capable  hand  through  practice 
an<l  instruction,  the  cultivation  of  a  practical  intelligence 
in  the  individual,  that  shall  enable  him  to  make  a  fair 
start  in  lite,  or  prepare  him  for  advanced  instruction  in 
some  trade,  industry  or  profession  in  our  higher  institutions 
of  learning. 

The  exercises  most  generally  recommended  for  intro- 
duction into  our  common  schools,  are  lessons  in  elementary 
science,  free-hand   and  geometrical  drawing,  modeling  in 


clay,  the  use  of  a  few  tools  for  simple  wood-work,  and 
the  construction  of  paper  arid  paste-board  models.  In  the 
High  School  and  in  Manual  Training  Scliools  this  training 
is  extended  to  include  laboratory  work  in  chemistry  and 
l^hysics,  mechanical  and  architectural  drawing  and  shop- 
work  in  wood,  iron  and  the  metals.  Each  pupil  is  given 
an  opportunity  to  combine  practical  illustration  with 
theoretical  instruction,  so  that  he  shall  be  compelled  to 
exhibit  by  drawings,  or  work  in  some  material  whether  he 
has  grasped  the  correct  idea  which  the  instructor  sought  to 
convey.  The  character  of  such  instruction  is  apt  to  stim- 
ulate the  pupil's  interest  in  his  lessons,  and  incite  that 
love  for  self-activity  which  it  is  the  dut^^  of  the  teacher  to 
cultivate.  Another  gain  resulting  from  such  training  is 
that  the  pujiil  will  want  to  work  out  his  own  problems — 
will  become  self-reliant. 

In  the  100  cities  where  manual  training  has  been  intro- 
duced to  a  greater  or  less  extent,  and  in  the  20  Manual 
Training  Schools  in  the  land,  the  enthusiasm  in  favor  of 
combining  the  training  of  hand,  brain,  and  eye  continues 
unabated.  I  have  given  the  utterances  of  some  of  our 
leading  educators  in  the  following  piges.  Many  more 
equally  pronounced  in  favor  of  this  truly  objective  method 
of  teaching  (mis-called  manual  training)  could  be  quoted, 
but  space  forbids. 

The  school  which  has  in  partial  operation  a  complete 
plan  of  instruction  based  on  the  creative  method  indicated 
above,  from  the  Kindergarten  to  the  High  School,  is  the 
Workingman's  School  and  Free  Kindergarten,  conducted 
under  the  auspices  of  the  Society  for  Ethical  Culture  in 
the  city  of  New  York.  Prof  Felix  Adler  has  labored  inde- 
fatigably  for  the  last  ten  years  to  make  the  instruction  in 
this  school  conform  to  rational  methods  and  in  consonance 
with  his  ideal  of  training  the  young  generation  for  greatest 
usefulness.  What  an  untold  blessing  it  would  be  to  the 
nation  to  have  ten  thousand  schools  of  this  type,  and  a 
hundred  thousand  teachers  imbued  with  the  true  spirit  of 
educational  reform ! 

The  Manual  Training  Schools  are  largely  patterned 
after  the  Manual  Training  Department  of  the  Washington 
University,  St.  Louis,  under  the  directorship  of  Dr.  C.  M. 
Woodward.  A  description  of  the  course  of  study  pursued 
in  this  school  is  given  in  these  pages.  In  the  Scott 
Manual  Training  School,  Toledo,  and  the  Philadelphia 
Manual  Training  School,as  well  as  in  some  others,girls  receive 
instruction   in   sewing,   cooking,   drawing,   modeling    and 


IV 


C.  HENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


wood  carving.  The  success  that  has  attended  the  schools 
in  the  cities  above  named  and  in  the  Manual  Training  Schools 
of  Chicago,  Denver,  Baltimore,  Cleveland,  New  Orleans  and 
other  cities  has  stimulated  the  development  of  this  class  of 
schools  in  different  parts  of  the  country.  Cincinnati  is  to 
have  its  Technical  School,  and  Brooklyn  has  its  Pratt 
Institute.  The  latter  was  endowed  by  Mr.  Charles  Pratt 
of  Brooklyn,  and  has  for  its  object  the  promotion  of 
manual  and  industrial  education,  and  to  supplement  this 
later  by  advanced  work  in  science  and  art.  Day  and 
evening  classes  have  been  established,  and  the  accommo- 
dations are  ample'for  the  instruction  of  several  thousand 
students. 

And  now  let  us  consider  briefly,  in  how  many  ways 
such  objective  teaching  will  aid  the  \m\A\  in  the  common 
school.  What  a  flood  of  light  is  poured  upon  our  instruc- 
tion in  drawing,  in  g(!ometry,  in  natural  science,  if  hand- 
work is  combined  with  the  theoretical  study !  The  forms 
are  modeled  in  clay,  cut  out  of  paper  or  carved  in  wood. 
The  preparation  of  the  herliarium  while  studying  botany, 
the  preservation  of  specimens  while  studying  zoology,  the 
representation  of  crystals  in  mineralogy  by  paper  forms  or 
constructions  made  of  wire,  the  relief  maps  in  the  study  of 
geography,  the  construction  of  ajjparatus  to  illustrate 
lessons  in  physics, — all  this  is  much  more  interesting  to  the 
pupil  and  of  greater  educational  value  than  the  memoriz- 
ing of  all  the  facts  contained  in  our  text-books  on  these 
subjects. 

The  day  is  not  far  distant  when  the  people  of  this  land 
will  put  into  operation  educational  reforms  on  a  scale  so 
grand  as  the  woi'ld  has  never  before  seen,  and  when  with  one 
bound  we  will  leap  to  the  front  in  educational  matters;  when 
science,  art  and  industry  will  walk  hand  in  hand  in  our 
halls  of  learning,  and  the  schools  of  this  country'  will 
indeed  be  the  workshops  where  our  mechanics  and  artisans 
are  trained.  The  i)roducts  of  our  varied  industries  will 
then  show  as  much  taste  and  skill  of  workmanship  as 
articles  manufactured  in  any  of  the  European  countries. 
Instead  of  being  obliged  to  compete  with  foreign  manu- 
factures, as  is  the  case  at  present  in  nearly  all  the  art- 
industries,  America  will  take  the  lead,  and  her  manu- 
factures will  be  found  in  every  part  of  the  globe. 

2.      GET   TO   Wt)UK    AT   ONCE. 

"  I  am  disposed  to  think  that  we  should  deal  with  this 
question  of  the  introduction  of  manual  education  in  our 
schools,  in  somewhat  of  a  grasping  spirit :  that  we  should 
take  all  we  can  get,  and  this,  as  soon  as  possible.  Not 
that  I  am  anxious  to  hasten  the  complete  result,  viz.,  the 
universal  introduction  of  manual  instruction  into  our 
public  schools,  for  at  least,  all  scholars  above  the  age  of 
twelve ;  not  that  I  am  sanguine  of  immediate  success  in 
whatever  maybe  to  this  end  urvdertaken;  not  that  I  over- 
look the  probability  that  some  part  of  what  may  be  at- 


tempted will  result  in  failure;  but  it  seems  to  me  that, 
where  so  great  a  task  is  before  us,  the  sooner  we  get  to 
work,  somewhere,  somehow,  almpst  anywhere,  anyhow, 
the  better.  In  such  a  case  there  is  more  waste  in 
delay,  in  doing  nothing,  than  in  many  mistakes  made 
in  doing  something.  This  is  not  a  situation  to  which 
Davy  Crockett's  maxim  applies  ;  first  be  sure  you  are 
right  and  then  go  ahead.  The  very  thing  we  have  to  do  is 
to  make  experiments,  to  create  experience. 

"  We  know  we  are  right  in  our  general  principles.  The 
best  expert  opinion  coincides  with  the  increasing  convic- 
tion of  the  community,  that  the  traditional  curriculum  of 
the  schools  needs  to  be  essentially  modified,  through  the 
introduction  of  studies  and  exercises  which  shall  train  eye 
and  hand  ;  which  shall  cultivate  the  perceptive  falculties, 
so  long  and  grievously  neglected  ;  which  shall  create  a 
respect  for  manual  skill  and  dexterity,  and  for  taste  in 
design  ;  which  sliall  aff'ord  scope  and  play  for  the  creative 
and  constructive  instinct.  Just  what  these  studies  and 
exercises  shall  be,  in  character  and  order  of  succession,  is 
to  be  determined  by  experiment  rather  than  by  forecast. 
The  question  is  one  which  requires  to  be  worked  out, 
rather  tlian  to  be  tliought  out.  The  most  that  is  likely  to 
be  done  in  the  immediate  present  will  not  be  more  than 
is  needed  to  accumulate  the  experience,  which  shall  de- 
termine the  direction  which  our  eff'orts  in  this  interest 
shall  ultimately  take 

"  For  one,  I  believe  that  the  introduction  of  the  new 
studies  and  exercises  which  we  are  advocating  will  not 
prove  a  mere  addition  to  the  work  of  the  school  or  college. 
I  believe  it  will  also  profoundly  modify  the  instruction 
given  within  the  traditional  line.  Boys  and  young  men 
who  have  learned  to  observe  for  themselves,  to  acquire 
knowledge  at  first  hand,  to  give  efffect  to  their  purposes, 
and  a  form  to  their  ideas  ;  who  have  been  accustomed  to 
impose  their  will  upon  matter,  and  to  make  it  take  shape 
to  suit  their  intellectual  conceptions  ;  who  know  how  to 
project,  to  plan,  to  execute  ;  will  have  little  patience  with 
much  that  makes  up  the  traditional  curriculum.  They 
will  demand  to  be  brought  face  to  face  with  facts.  Tliey 
will  insist  upon  going  to  the  bottom  of  any  matter  they 
have  to  deal  with.  That  genuine  intellectual  honesty, 
which  is  the  first  fruit  of  the  objective  study  to  concrete 
things,  will  make  them  scorn  to  defend,  in  dialectical  and 
rhetorical  practice,  theses  which  they  do  not  thoroughly 
believe.  They  will  grudge  every  hour  spent  in  memoriz- 
ing matters  for  which  they  can  at  any  time  resort  to  the 
gazetteer  or  cyclopedia.  It  will  be  hard  to  impose  on  such 
students  with  sounding  names,  deceive  them  with  sophis- 
tries, or  bear  them  down  by  authority.  They  will  care 
much  for  principles  ;  little  for  the  manner  in  which  these 
may  be  dressed  up  for  effect,  or  tricked  out  for  public 
admiration." — Gen.  Francis  A-  Walker,  President  of  Mama- 
ckuselU  Institute  of  Technology. 


MANUAL  TRAINING  AND  INDUSTRIAL  EDUCATION. 


3.        THE    INJ)USTRIAL    CLASSES    MUST   RECEIVE   SUITABLE 
TRAINING. 

"The  education  of  the  present  must  be  shaped  to  suit 
tlie  needs  of  the  industrial  masses,  if  it  is  to  fulfill  its 
proper  function  in  the  state.  We  must  not  close  our  eyes 
to  the  fact  that  by  far  the  larger  number  of  men  in  every 
civilized  community  are  workers  to  whom  a  skilled  hand 
is  quite  as  important  as  a  well-filled  head.  Is  it  not 
within  the  strictest  bounds  of  justice  and  right  to  ask  that 
the  schools  should  undertake  to  do  something  for  the 
practical    necessities    of   these    millions     of    men     and 

women  ? 

"  The  perfectly  educated  man  is  he  whose  facile  hand 
follows  obedienlly  the   clear  and  ready  promptings  of  a 
well-developed  brain.     The  hand  is  the  most  marvelous 
instrument  in  the  world  ;  it  is  the  necessary  complement 
of  the  mind  in  dealing  with  matter  in  all  its  varied  forms. 
It  is  the  hand  that '  rounded  Peter's  dome  ';  it  is  the  lumd 
that  carved   those   statues    in   marble   and   bronze,  that 
painted  those  pictures  in  palace  and  church,  which  we 
travel  into  distant  lands  to  admire ;    it  is  the  hand  that 
builds  the  ships  which  sail  the  sea,  laden  with    the  com- 
merce of  the  world  ;    it  is  the  hand  that  constructs  the 
machinery  which  moves  the  busy  industries  of  this  age 
()f  steam  ;  it  is  the  hand  that  enables  the  mind  to  realize 
in  a  thousand  ways  its  highest  imaginings,  its  profoundest 
reasonings,  and  its  most  practical  inventions.     Why,  then, 
this  disparagement  of  the  hand  in   the   schools?     Why 
should  not  an  organ  which  forms  so  vital  a  part  of  man's 
lieing  receive  a  due  share  of  attention  in  preparing  him 
for  the  duties  and  responsibilities  of  citizenship  ?    There 
can  be  no  question  about  th(!  harm  that  is  done  to  society 
by  this  neglect.     The  troulilc  with  so  many  departments 
of  industry  at  the  present  moment  is,  that  there  are  too 
few   skilled   artisans   to    put   into  form  the  ideas  of  the 
designers,  that  labor  and  thought  are  too  far  apart  from 
each  other.      One  reason  why  there   is   so   much  unrest 
among  the  working  classes  is,  that  our  public  education 
does  not  give  them  all  the  help  they  need  to  enable  them 
to    pursue   their  work   successfully   and  happily." — ./«.•,•. 
Miic  AliMer,  Super intetulail  Public  Schools,  PMladdphia. 

4.      Till-:  STATE  SHOULD  PROVIDE  FOI4  INDUSTRIAL  EDUCATION. 

M.  J.  Savage,  in  an  article  printed  in  the  North  Ameri- 
can Revkw  avers  that  the  American  public  school  system 
is  trying  to  do  too  mucli,  and  as  a  consequence  is  doing 
very  little  tlioroughly  and  well,  while  the  things  that  ought 
to  \h'  of  cliief  importarK'e  are  certainly  not  accomplished. 
He  says  :  "  Since  the  state  cannot,  if  it  would,  i)rovide  all 
its  children  with  ideal  careers,  it  should  at  least  not  unfit 
them  for  their  actual  ones.  I  could  multiply  instances  of 
how  this  is  actually  done.  Witness  the  crowds  of  working 
girls  in  the  great  cities,  not  willing  to  fill  a  position  of  hon- 


orable service  in  anybody's  family  ;  none  of  them  willing 
even  to  marry  an  honest  man,  and  make  a  home  for  him, 
unless  he  can  keep  her  in  idleness,  and  furnish  her  with 
servants  !  choosing  rather  to  jostle  one  another  for  a  place 
behind  a  counter,  though  on  starvation  wages  that  must 
be  eked  out  even  at  the  price  of  womanhood  and  honor. 
Witness  the  crowds  of  young  men  surrendering  the  home 
that  might   be  earned  by  the   'labor'  they  think  them- 
selves educated  '  above,'  and  in  its  place  taking  a  garret  and 
amusements  of  which  they  had  better  be  ignorant ;  seeking 
for  '  positions '  already  too  full ;  while  most  of  them  are 
really  not  educated  into  the  ability  to  do  anything  in  par- 
ticular and  do  it  well.     The  first  thing  that  any  boy  or 
girl  needs,  on  coming  into  this  world  is  to  ))e  trained  into 
an  ability  to  earn  an  honest  living.     This,  therefore,  ought 
to  be  the  first  concern  in  any  scheme  for  common  educa- 
tion.    And  since  it  is  determined  by  nature  and  circum- 
stances that  the  great  majority  of  men  and  women  must 
do  some  kind  of  manual  labor,  it  would  seem  to  be  self- 
evident  that  any  wise  scheme  of  common  education  should 
train  the  hand  as  well  as  the  brain.     If  any  boy  or  girl  is 
not  so  educated  so  as  to  be  able  to  earn  an   honest  living 
he  or  she  is  liable  to  become,  directly  or  indirectly,  a  public 
charge.      The   state,   then,   has  a  manifest    right  in  this 
matter.     Thus  the  opportunity  for  an  industrial  education 
should  be  an  internal  and  essential  part ,  of  our  common 
school  system." 

5.      WHY    OUR    COUNTRY-BRED    BOYS    MAKE   SUCCESSFUL   MEN. 

In  the  report  by  Mr.  William  Mather  to  the  English 
Government  on  "  Technical  Education  in  the  United 
States  and  Canada,"  we  find  the  following  : — 

"  Too  large  a  class  of  young  people  in  America,  of  h6ih 
sexes,  are  seeking  pursuits  not  requiring  manual  labor. 
Their  education  as  given  at  present  in  the  high  schools 
and  colleges,  tends  rather  to  unfit  them  for  the  active 
industries  of  life,  in  a  country  where  the  vast  resources  of 
nature  are  waiting  for  willing  and  trained  hands  to  utilize 
them.  The  native  born  American  hates  drudgery,  and  all 
the  mechanical  arts  when  pursued  without  some  knowl- 
edge of  science  to  employ  and  interest  the  mind,  while  the 
hands  are  active,  are  more  or  less  drudgery.  The  Ameri- 
can boy,  with  his  inborn  ambition  and  natural  ingenuity, 
would  cease  to  regard  manual  labor  as  drudgery,  if  his 
hand  and  mind  together  were  industrially  trained  through 
the  school  period.  He  would  then  be  led  into  industrial 
employments  by  choice,  as  the  readiest  means  to  climb  to 

a  higher  position  in  life The  farmer's  boy  is 

provided  with  an  industrial  training  of  the  best  kind  in 
and  around  his  home.  His  wits  are  sharpened,  his  per- 
ceptions developed  ;  there  is  a  large  field  for  the  immediate 
application  of  knowledge  acquired  at  school  on  the  one 
hand  ;  on  the  other,  the  school  exercises  and  lessons  are 
more  readily  understood  by  the  boy  or  girl  having  in  daily 


VI 


C.  IIENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


life  to  deal  directly  with  natural  forces  and  laws.  -These 
country  or  district  schools,  associated  as  they  are  with 
agricultural  and  mechanical  occupations,  produce  better 
results,  as  a  whole,  amongst  the  artisan  classes  than  the 
city  schools,  the  attendance  at  which  is  for  the  entire 
school  year  of  forty  weeks.  My  attention  has  been  drawn 
to  this  fact  by  many  employers  and  educationists,  and 
it  has  been  confirmed  by  my  own  observations.  It  siu/gests 
tJie  iiiiportaacc  oj'  introditciiui  into  the  elementary  publw  gchooh 
of  cities  some  indastdal  training.  '  Our  brightest  boys  come 
from  the  country,'  is  a  phrase  which  has-  become  very 
familiar  to  me  in  America." 

6.       M.\NUAL    LABOR    AND    CIVILIZATION. 

Read  what  one  of  our  most  intelligent  laymen  says  in 
his  book  on  Manual  Training. 

"  The  disposition  to  undervalue  the  hand  is  an  inher- 
itance from  the  speculative  philosophy  of  the  ancients. 
Plato  regarded  the  soul's  residence  in  the  body  as  an 
evil.  The  effect  of  this  false  doctrine  has  been  the  degrada- 
tion of  manual  labor;  and  it  is  not  less  absurd  than 
wicked  to  treat  manual  la])or  with  contempt,  since  to  it 
we  owe  all  the  visible  results  of  civilization. 

"  Mechanics  stand  the  test  of  scrutiny  better  than  mer- 
chants ;  civil  engineers  and  architects  are  more  competent 
than  railway  managers,  lawyers,  judges  and  legislators. 
Why?  Because  the  former  are  educated  in  the  world's 
workshops  and  institutions  of  technical  instruction  ;  they 
are  trained  in  tilings,  while  the  latter  have  only  the  auto- 
matic word-training  of  the  schools.  Ninety-seven  mer- 
chants in  one  hundred  fail ;  lawyers  and  judges  produce  a 
most  pitiabk  wreck  of  justice,  and  the  statutes  of  legis- 
lators wear  out  in  a  year.  But  every  locomotive  that 
leaves  the  shop  is  perfect ;  bridges  last  a  century,  and  the 
works  of  architects  and  builders  stand  as  monuments  of 
skill  and  fidelity  long  after  their  makers  are  turned  to 
dust.  The  cause  of  these  failures  is  this  :  Subjective 
mental  processes  (the  word-training  of  the  schools)  are 
automatic,  and  hence  they  neither  generate  power  nor 
promote  rectitude.  They  enfeeble  rather  than  energize  the 
brain.  Ideas  and  things  are  indissolubly  connected,  and 
a  system  of  education  which  separates  them  is  fundament- 
ally defective.  Why  store  the  mind  with  fiicts  which  are 
useless  until  applied  to  things,  if  they  are  not  to  be 
applied  to  things?  And  if  they  are  to  be  applied  to 
things,  why  not  teach  the  art  of  so  applying  them  ?  The 
system  of  education  that  does  not  do  this  is  one-sided, 
incomplete,  unscientific." — Charles  H.  Ham,  Chicago. 

7.       LITTLE   THINKING   BUT    MUCH    MEMORIZING. 

"It  seems  that  the  school-room,  as  ordinarily  equipped, 
is  as  ill-fitted  to  exite  the  power  of  observation  as  it  is 
possible  to  have  it.  Our  whole  course  seems  to  be  about 
things,  not  a  study  of  things  themselves.     The  pupils  see 


through  the  eyes  of  some  one  else.  They  accept  his 
thoughts.  They  do  not  draw  their  own  conclusion,  simply 
because  they  have  never  observed,  have  never  learned  how 
to  weigh  evidence,  nor  to  sum  up  the  testimony.  In  short, 
there  is  but  little  thinking,  but  an  avalanche  of  memoriz- 
ing  

"  Practically,  the  whole  matter  of  education  is,  in  in- 
ception, growth  and  continuance,  an  institution  of  the 
state.  The  people  at  large  are  the  ultimate  source  of  all 
this  power,  bearing  cheerfully  the  b&rdens  laid  upon  them, 
and  in  consequence  having  a  right  to  demand  that  the 
result  of  all  this  expenditure  shall  be  in  value  equal  to  the 
cost 

"The  pupils  who  are  being  trained  in  our  schools  now 
are  to  be  the  1>usy  men  and  women  of  the  next  ten  years. 
The  busy  hive  of  industry  will  be  as  full  of  workers  then 
as  now.  The  age  of  research,  of  discovery,  and  of  in- 
vention, has  just  begun.  The  demands  upon  those  who 
hold  themselves  out  as  teachers  are  ten-fold  greater  now 
than  ever  before.  There  is  more  to  lead  astray  ;  there  is 
sharper  competition  ;  there  is  an  intense  earnestness  in 
every  direction.  Lines  of  throught  are  specialized  as  never 
before.  The  ocean  of  knowledge  is  so  vast  that  one  must 
be  content  to  explore  a  small  portion  of  it.  There  is  a 
call  for  definite  work,  definite  instruction  ;  for  a  putting 
forth  of  the  powers  of  the  being  in  work  between  sharply- 
defined  boundaries.  Can  we  aft'ord,  longer,  to  carry  out  a 
system  that  fails  to  fit  our  children  for  real  work?" — T. 
0.  Crawford,  Oakland,  Cal. 

8.      OUR   SKILLED    .MECHANICS    ARE    FOREIGNERS. 

"  The  training  which  the  children  receive  in  most  of 
our  primary  grammar  and  high  schools  is  calculated  to 
prepare  them  for  commercial,  professional,  or  literary 
pursuits,  and  next  to  nothing  is  done  to  direct  their  minds  to 
industrial  occupations.  What  wonder,  then,  that  the 
mercantile  field  is  over-run  with  applicants  for  })la(es. 
Crowds  of  boys,  anxious  to  obtain  a  situation  in  some  kind 
of  an  ofiice  or  a  store,  are  annually  turned  out  of  our 
schools,  willing  to  serve  for  almost  anything;  whilst  in  the 
manufactories  and  shops,  where  skilled  manual  labor  is 
required,  the  foreign  element  predominates;  and  it  is 
especially  noticeable  that  the  higher  the  grade  of  skill 
required,  the  more  we  have  to  depend  upon  foreign 
talent  to  design  and  execute  the  work.  I  could  cite 
innumerable  instances  to  verify  this  statement.  In  the 
General  Inspector's  Office  of  Iron-clad  Steamers,  a  depart- 
ment in  the  Naval  Construction  Bureau,  during  our  late 
war,  were  employed  some  twenty-five  draughtsmen. 
Of  these,  six  were  designers  of  machinery  and  vessels, 
the  rest  copyists.  Of  the  former,  four  were  Germans, 
one  Scotch  and  one  a  Frenchman;  and  of  the  others 
more  than  two -thirds  were  foreigners  of  different 
nationalities.        In   one   of  the   largest   ship   and    engine 


MANUAL  TRAINING  AND  INDUSTRIAL  EDUCATION. 


building  estab]ishincntt<  in  Boston,  the  head  draughtsman 
was  a  German;  foreman  pattern-maker,  English;  l)r),ss 
joiner,  Nova  Scotian;  boss  boiler-maker,  Scotch;  ])hick- 
smith,  Nova  Scotian,  and  nearly  all  the  best  mechanics  in 
every  department  foreign  bom.  The  same  condition,  or 
nefirly  so,  is  found  to  exist  in  most  all  large  manufactories 
throughout  the  United  States  where  skilled  labor  is 
re(iuired,  esi)ecially  in  furniture  and  piano  factories,  stained 
glass  and  architectural  iron  works,  potteries,  house  decorat- 
ing, engraving  and  lithographic  estiiljlishments,  etc. 

"The  vast  imi)rovements  in  machinery,  together  with 
inventions  and  discoveries  of  new  processes,  have  (tom- 
pletely  revolutionized  every  department  of  labor;  even  the 
farmer  is  turned  into  a  half  machinist  or  an  engine  tender, 
and  should  know  enough  about  his  agricultural  machinery 
to  attend  to  the  many  little  repairs  and  adjustments 
neeessary  to  keep  it  in  pro2)er  working  order;  in  other 
words,  he  should  be  not  only  a  farmer  but  also  a  mechanic. 
Although  the  demand  for  skilled  labor  is  now  greater  than 
ever,  yet  it  is  a  well-known  fact  that  we  have  no  regular 
system  of  training  boj's  so  that  they  may  liecome  skilled 
and  efficient  workmen  in  any  industrial  occupation. 

"  It  seems  a  little  strange  that  such  an  important 
matter  should  be  so  lightly  'treated  in  this  country,  when 
our  success  in  competition  with  foreign  manufactures 
depends  so  largely  ujion  the  excellence  of  workmanshi]) 
and  originality  of  design.  How  can  this  be  secured,  but 
by  giving  our  attention  to  the  proper  training  of  our 
artisans?  And  this  must  be  begun  in  early  childhood 
toUowed  step  by  step  in  regular  progressive  order  through 
all  the  grades  of  public  schools.  Unfortunately,  boys  ai'e 
too  often  discouraged  bv  their  own  foolish  parents  from 
cultivating  a  taste  for  industrial  occupations;  labor,  once 
held  honorable,  has  come  to  be  regarded  as  degrading,  and 
to  make  a  living  by  your  wits  considered  smartness;  to 
borrow  a  dollar,  invest  in  some  speculation  and  pocket  the 
margin  is  called  business;  and  he  who  knows  best  how  to 
take  advantage  of  his  fellow-men,  amass  a  fortune  while 
rendering  no  service  to  the  world,  enjoys  the  luxui'ies  of 
life,  and  looks  down  disdainfully  upon  an  honest  working- 
man  The  fearful  spread  of  dishonesty  and  corruption  in 
busine.-5s  and  in  politics,  to  which  we  are  daily  witnesses, 
is  the  natural  outgrowth  of  this  diseased  state  in  our 
body  politic,  and  must  be  met  by  the  strongest  and  most 
resolute  combined  efforts  of  school,  church  and  honu^  in 
order  to  bring  l)ack  that  sturdy  sense  of  honor,  industrious 
habits  and  contempt  for  idleness,  the  corner-stones  upon 
which  our  forefathers  raised  their  prosperity  and  success.'' — 
Prof.  Otto  Fiwhn,  Priiwipdl  Maryland  Institute  of  Art  and 
Design,  Bultinwre,  Md. 


9.       M.'iNUAL  TKAINING  AS  COMPAKKU  WITH  THE  APPBENTIOE- 
SHII"  SYSTK.M. 

"  I  will  now  show  that  a  manual  training  school  is 
better  than  any  system  of  apprenticeship,  and  hence  better 
than  any  trade  school. 

"To  the  commercial  method,  of  more  or  less  formal 
apprenticeships,  several  very  serious  objections  arise. 
First  and  foremost,  the  apprentice  stops  going  to  school. 
His  mathematical,  scientific  and  literary. training,  stop 
the  moment  he  enters  upon  his  effort  to  secure  manual 
training.  This  fact  alone  ought  to  kill  apprenticeship. 
It  has  degraded  all  mechanical  pursuits— not  simply 
brought  them  into  bad  repute,  but  has  actually  degraded 
them— and  has  given  rise  to  the  notion  that  a  mechanic 
needs  no  education  beyond  the  rudiments  of  the  grammar 
school,  aside  from  what  he  picks  up  at  his  trade. 

"Then  again,  in  apprenticeship  at  any  kind  of  tool 
work,  the  boy  is  not  taught  drawing  as  a  part  of  his  trade, 
and  yet  tool  work,  however  skilful,  without  drawing  is 
the  thinnest,  lowest  sort  of  apology  for  manual  training. 
Not  one  journeyman  mechanic  in  a  hundred  is  as  good  a 
draughtsman,  or  as  intelligent  in  reading  drawings,  as  the 
graduate  of  a  manual  training  school. 

"  Thirdly,  the  ordinary  apprentice  gets  at  best  a  very 
narrow  kind  of  manual  training.  He  is  made  familiar 
with  a  very  limited  range  of  work,  and  he  is  kept  at  that 
far  beyond  the  needs  of  intelligent  mastery,  till  the 
mechanical  habits  of  a  rapid  workman  are  fully  formed. 
Henceforth  his  handiwork  is  the  result  of  habit,  not  of 
thought,  and  his  intellectual  progress  as  connected  with 
his  work  is  at  an  end. 

"  But  there  is  a  fourth  argument  against  the  commer- 
cial way  of  getting  manual  training,  which,  to  some,  may 
outweigh  all  the  rest,  serious  as  they  appear  to  be,  and 
that  is  this  :  To  put  a  boy  fourteen  or  fifteen  years  old  to 
learn  a  trade  as  an  apprentice  is  as  a  rule  to  commit  him 
to  that  trade  for  life,  without  intelligent  choice  of  occupa- 
tion and  with  little  chance  for  correcting  a  mistake  if  one 
is  made.     It  is  a  crime  against  freedom  and  humanity. 

"  There  are  plenty  of  people  whose  mental  make-up  is 
such  that,  while  they  may  succeed  fairly  in  other  paths 
of  labor,  they  are  unfit  to  be  mechanics.  They  have  not 
the  ability,  the  proper  mental  qualities.  To  set  up  such 
people  to  learn  trades  is  most  unfortunate.  They  are 
sure  to  be  low  grade,  indifferent  workmen,  always  strug- 
gling against  a  fate,  which  a  better  knowledge  of  their 
capacities  would  have  avoided.  The  fact  is  that,  until 
one  has  had  an  opportunity  to  develop  his  faculties, 
neither  he  nor  his  teachers  can  tell  what  his  '  bent '  is,  nor 
what  there  is  in  him. 

"  The  student  of  the  manual  training  school  takes  all 
his  work  without  bias.  There  is  no  presumption  either 
for  or  against  a  particular  line  of  work  in  life.     He  is  as 


vm 


C.  HENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


free  as  it  is  possible  to  he.  He  pr()])ably  changes  his 
mind  every  year  on  the  subject  of  what  occupation  he  is 
best  fitted  for.  At  the  end  of  his  school  course,  however, 
he  is  likely  to  see  clearly  where  he  is  strong,  and  where 
he  is  weak,  and  to  direct  his  choice  in  the  direction  of  his 
strength. 

"  I  see  nowhere,  in  either  ancient  or  modern  times,  a 
people  whose  youth  have  been  trained  as  our  youth  should 
1)6  trained.  Neither  Babylon,  nor  Athens,  nor  Rome, 
with  their  pinnacles  of  culture  resting  on  the  barbarous 
foundation  of  human  slavery;  nor  the  blooded  aristoc- 
racies of  more  modern  times,  buttressed  and  supported 
by  millions  of  laborers,  ground  down  in  ignorance,  poverty 
and  superstition;  none  of  these  can  teach  us  how  to 
educate,  construct,  and  adorn  an  American  citizen.  We 
must  not  expect  all  our  boys  to  rule,  or  to  be  ruled;  to 
direct,  or  to  be  directed;  to  employ  or  l)e  employed.  No 
narrow,  selfish  aim,  no  prejudice  of  caste,  no  false  (;laim 
of  high  culture  must  mislead  our  pupils. 

"  Give  them  a  generous,  symmetrical  training;  open 
wide  the  avenues  to  success,  to  u.sefulness,  to  happiness, 
to  power;  and  this  ago  of  scientific  progress  and  material 
wealth  shall  be  also  an  age  of  high  intellectual  and  social 
progress." — Dr.  G.  M.  Woodward,  Principal  Manual  Train- 
ing School,  St.  Louis. 


10. 


VALUE    OF   TRAINED    MEN. 


The  Massachusetts  Institute  of  Technology  has  now 
827  students  in  the  school  of  industrial  science,  and  71 
in  the  school  of  mechanical  arts  and  the  Lowell  school  of 
practical  design.  Of  the  value  of  the  Institute's  training. 
President  Walker  says  :  "  Here  is  a  case  in  point :  The 
])resi(lent  of  one  of  the  great  lines  of  transportation  in  tliis 
country — a  man  with  a  genius  for  organization  and  execu- 
tion— said  to  me  l)ut  a  short  time  ago,  that  he  could  take 
a  young  man  of  good  sense,  good  judgment  and  good 
habits,  a  graduate  from  our  course  in  civil  or  mechanical 
engineering,  and,  by  passing  him  through  the  successive 
grades  of  responsibility  in  railroad  mansigement,  could  in 
five  years'  time  make  him  a  better  general  superintend- 
ent than  could  bo  made  of  a  man  lacking  this  prepara- 
tion in  twenty  years.  The  day  of  half-trained  men  is  past 
in  this  country,  in  all  occupations — or  is  rapidly  going 
past." 


11. 


GOOD    POSITIONS    FOR    GRADUATES. 


"The  president  of  the  Rose  Polytechnic  Institute,  during 
the  graduating  exercises,  referred,  with  justifiable  pride,  to 
the  fact  that  nearly  all  the  graduates  would  at  once  enter 
into  profitable  positions.  Compare  the  graduating  classes 
of  all  the  technical  schools  in  the  land  with  the  classes 
graduated  from  the  medical,  legal,  and  commercial  colleges 
in  the  same  period,  and  no  doubt  it  will  be  found  that  in 


the  former  the  majority  at  once  liegin  life  with  good  {)osi- 
tions,  while  in  the  latter  many  a  studcait  must  expect 
patient   waiting   for  more  than   a   bare  support." 

In  1886  Dr.  Woodward,  Principal  of  the  St.  Louis 
Manual  Training  School  addressed  a  circular,  to  the  grad- 
uates of  his  school  for  the  purpose  of  ascertaining  the 
results  of  the  training  they  had  received.  The  summary 
of  occupations  in  which  the  young  men  were  engaged  at 
that  time  shows  that  twenty-five  were  students  of  engineer- 
ing, law,  and  medicine;  twenty -three  engaged  as  clerks  in 
banks,  railway  offices,  and  manufactories;  ten  W(!re  engaged 
as  teachers,  mostly  in  manual-training  schools;  nine  as 
draughtsmen  with  architects  and  manufacturers;  six  as 
machinists;  five  as  artisans;  five  as  ranchmen  and  farmers; 
four  as  Ijusiness  men;  two  as  engineers,  civil  and  mechan- 
ical; two  as  manufacturers;  one  as  a  leaker,  and  two  whose 
occupation  was  not  known.  Out  of  the  class  of  1883, 
twenty-two  out  of  twenty-nine  are  in  business  and  the 
average  rate  of  wages  according  to  answers  received  was 
$68  per  month.  Out  of  thirty  of  the  class  of  1884,  twelve 
roporttnl  as  (jarning  regular  wages.  This  average  was  $78 
per  month.  Of  the  class  of  188o,  fourteen  out  of  the  thirty- 
nine  have  been  earning  wages  at  the  average  rate  of  $70 
per  month. 

Dr.  Wooward  says:  "About  half  the  boys  who  attend 
the  school  get  less  than  the  whole  course.  For  a  variety  of 
reasons  they  drop  out.  A  mucli  larger  per  cent,  of  such 
boys  become  mechanics  than  of  the  graduates.  I  have  had 
many  excellent  reports  from  and  concerning  them,  but  I 
have  not  kept  the  reports  on  file." 

12.       A    PRACTICAL    EDUCATION    DESCRIBED. 

''But  while  well-meaning  educators  have  been  giving 
attention  to  manual  exercises  as  a  means  of  better  fitting 
the  young  for  a  future  occupation  of  labor,  the  incidental 
advantages  have  proved  well  worthy  of  consideration;  for 
they  could  not  fail  to  notice  that  the  mind,  itself,  receives 
very  material  assistance  when  the  bodily  powers  are,  at 
the  same  time,  brought  under  systematic  develo])ment. 
And  so  it  happens  that  not  a  few  who  at  first  favored 
handwork  in  school,  from  the  utilitarian  point  of  view, 
have  at  length  come  to  consider  it  as  yet  more  advanta- 
geous for  a  systematic  development  of  the  whole  being, 
whether  actual  use  is  ever  to  be  made  of  trade  skill  or  the 
student  is  to  live  otherwise  than  by  bodily  labor.  It  is 
this  phase  of  industrial  education,  in  which  hand-work 
appears  as  the  auxiliary  of  head-work,  and  not  as  the 
leading  feature — it  is  this  phase  which  most  concerns  us 
who  are  gathered  here,  whose  life-work  is  not  to  guide 
pupils  in  the  narrow  channels  of  special  callings;  but  to 
make  them  intelligent,  virtuous  and  useful  citizens.  .  .  . 

"  In  studying  the  sciences,  facts  must  be  gathered  in 
and  digested  and  assimilated,  iind  all  this  cannot  be  done 
by  the  hearing  of  the  ear,  by  the  study  of  books,  or  attend- 


MANUAL  TRAIHriKG  AND  INDUSTRIAL  EDUCATION. 


IX 


ance  at  lectures.  It  is  getting  to  be  better  and  better 
understood  that  the  student  must  put  himself  in  the  atti- 
tude of  an  observer  and  investigator.  He  must  see  with 
his  own  eyes,  and  feel  with  his  own  hands.  He  must  use 
his  bodily  senses  as  well  as  his  intellectual  faculties.  And 
he  niust  bring  to  his  aid  the  various  instruments  which  the 
rigorous  demands  of  science  have  caused  to  be  invented. 
And  thus  it  comes  that  our  higher  institutions  of  learning 
must  have  their  well-equipped  laboratories  of  chemistry, 
and  physics,  and  biology,  and  their  collections  of  illustrat- 
ive specimens  in  mineralogy,  and  botany,  and  zoology, 
and  even  in  technology.  The  student  of  medicine 
must  himself  dissect  the  human  body  and  frequent  the 
hospitals.  The  student  of  physiology  must  himself  use 
the  scalpel  and  microscope.  The  student  of  engineering 
must  himself  work  with  level  and  transit.  The  student 
of  astronomy  must  learn  with  instruments  what  is  meant 
by  right  ascension  and  declination.  The  student  of 
mechanics  must  himself  measure  velocity  and  resistance, 
and  test  the  strength  of  materials.  I^aboratory  teaching 
and  laboratory  work  is  getting  to  be  the  prominent  feature 
of  schools  of  science,  and  a  not  altogether  subordinate  one 
in  the  colleges  of  liberal  arts.  And  yet  with  the  present 
subdivision  ol  professional  labor,  the  physician  may  never 
ply  the  knife  among  living  muscles  and  arteries  and 
nerves,  and  the  chemist  may  never  have  occasion,  in  after 
life,  to  make  an  analysis.  Then  why  require  superfluous 
work  of  the  young  aspirant  ?  Because  ideas  that  come 
through  the  hand  and  the  eye  come  to  stay.  Because 
touch  and  sight  correct  the  crude  perceptions  of  the  mind  ; 
because  direct  observation  shows  more  in  a  moment  than 
whole  pages  of  words  can  set  forth.  And  now  as  hand 
practice  is  proving  so  valuable  in  the  higher  schools,  the 
question  comes  up  whether  in  the  elementary  schools  also 
the  direct  sources  of  knowledge  shall  not  be  trained,  in- 
stead of  exercising  memory  alone.  The  most  marvelous 
instruments  that  ever  were  made,  are  the  eye  and  that 
culmination  of  contrivance,  the  human  hand.  Think  of 
this  much  articulated  member  with  its  manifold  executive 
powers.  Think  of  those  thousands  of  nerve  loops  in  the 
finger  tips,  which  bring  the  ))rain  and  mind  into  contact 
with  the  outer  world.  With  the  hand  we  become  cog- 
nizant of  the  hard  and  soft,  smooth  and  rough,  sticky  and 
slippery,  even  and  uneven,  sharp  and  dull,  rigid  and  flex- 
ible, hollow  and  solid,  thick  and  thin,  wet  and  dry,  warm 
and  cold,  heavy  and  light,  strong  and  fragile.  With  this 
we  take  f)ur  food,  with  this  we  fashion  our  garments,  with 
this  we  build  our  houses,  with  this  we  create  forms  of 
beauty,  with  this  we  transmit  our  thoughts.  These  are 
eyes  to  the  blind  and  speech  to  the  duml>.  Shall  the 
schoolmaster  continue  to  exercise  in  writing  only,  this 
member  on  which  the  Creator  has  lavished  so  much  skill  ? 
We  have  gymnastics,  to  be  sure,  to  give  strength  and 
suppleness  to  the  body  ;  but,  except  in  quickness  of  catch, 


and  firmness  of  grip,  gymnastics  leave  the  hand  un- 
trained  

"  The  school  should  start  the  child  aright,  guide  him 
in  the  right  direction,  and  economize  his  strength.  The 
aim  should  be,  not  to  turn  out  pedants  or  narrow  special- 
ists, either  of  high  or  low  degree,  but  to  develop  all  the 
powers  systematically  and  make  intelligent,  capable,  self- 
directing  men  and  women  And  whatever  pursuits  give 
the  best  mental  and  physical  discipline,  are  most  worthy 
of  a  place  in  the  course  of  instruction.  Order,  exactness, 
neatness,  love  of  beauty,  and  inventiveness  are  desirable 
in  all.  In  reading,  the  pupil  may  think  he  does  pretty 
well  if  he  pronounces  most  of  the  words  rightly.  In 
writing,  he  is  satisfied  if  the  letters  are  not  quite  all  of  a 
height,  and  their  forms  are  only  a  little  remote  from  the 
copy  set.  But  in  making  a  dove-tailed  wooden  box,  hasty 
measurements  and  rude  approximations  will  not  answer. 
Ill-matching  joints  bring  on  one  the  laugh  of  his  fellows 
and  his  own  self-condemnation.  Exactness  is  seen  clearly 
to  be  the  artisans  first  law.  The  boy  may  be  tolerated  in 
translating  Greek  or  German  into  limping  English  ;  but 
when  he  tries  to  smooth  a  board  with  a  notched  plane,  he 
is  forcibly  reminded  that  the  tool  must  be  ground.  The 
discipline  of  fitting  things  is  far  more  effective  than  that 
of  shaping  letters,  or  arranging  words.  The  pupil's 
patience  breaks  down  when  he  tries  over  and  over  again 
to  do  the  elusive  sum  in  arithmetic,  but  he  is  so  delighted 
to  use  his  hands  that  he  is  not  disheartened  by  repeated 
trials  till  the  joints  are  neat  and  true 

"  We  must  look  out  for  a  practical  education  suitable 
for  the  great  mass  of  boys  and  girls.  Let  it  combine  the 
kindergarten  and  the  primary  school,  the  slojd  school  and 
the  common  school.  Let  it  include  finger  plays  and 
object  lessons  for  the  little  ones,  hand-work  for  the  middle 
school,  drawing,  modeling  and  manual  training  in  the 
more  advanced  schools,  and,  for  as  many  as  can  go  farther, 
the  physical,  chemical  and  biological  manipulations  of 
the  scientific  schools  and  colleges.  So  shall  we  at  length 
succeed  in  bringing  up  a  race  of  true  men  and  women 
with  trained  muscle,  trained  mind,  and  executive  power." 
— Dr.  John  M.  Ordway,  Principal  Mnmud  Training  School, 
Tulane  University,  Neio  Orleans. 

13.     BENEFITS   RESULTING   FROM    THE    INTRODUCTION   OF   THE 

ELEMENTS  OF  PHYSICS  AND  MECHANICS  INTO  OUR 

COMMON   SCHOOI>S. 

"  The  jjurpose  sought  by  the  advocates  of  so-called 
industrial  education  is  the  training  of  the  eye  and  the 
hand  of  the  pupil,  and  his  acquisition  of  those  elementary 
principles  of  physics  and  mechanics  which  underlie  all 
dealing  with  the  forces  of  nature  and  with  material 
objects 

"  Beginning  with  the  pupil  at  the  stage  when  kinder- 
garten methods  and   appliances   are  exhausted   of  their 


C.  HENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


efBciency,  tlie  scholar  should  be  instructed  in  the  elemen- 
tary principles  of  physics  and  mechanics  through  the  use 
of  simple  models  and  apparatus,  and  should  become 
familiarized  through  frequent  statement  and  illustration 
with  the  fundamental  conceptions  of  geometry.  There  is 
a  deep-seated  popular  error  as  to  the  age  at  which  such 
things  as  the  above  can  advantageously  be  acquired.  It 
is  too  often  assumed  that  because  the  young  child  is  not 
competent  to  study  geometry  systematically  he  need  be 
taught  nothing  geometrical ;  that  because  it  would  be 
foolish  to  present  to  him  physics  and  mechanics  as 
sciences  it  is  useless  to  present  to  him  any  physical  or 
mechanical  principles 

"  A  child  of  ten  or  twelve  years  is  capable  of  under- 
standing the  principle  of  the  lever  just  as  perfectly  as  did 
Archimedes  of  Old  Syracuse.  Once  implant  that  concep- 
tion in  his  mind  and  it  becomes  germinal,  and,  without 
watering  or  tending,  will  bear  fruit  perennially  through 
all  his  life. 

"  A  child  of  the  same  age  can  comprehend  the  prin- 
ciple of  the  arch,  when  illustrated  by  a  few  blocks  from  a 
carpenter's  shop,  as  fully  as  does  the  architect  who  hangs 
a  stone  dome  100  feet  in  the  air  ;  and  when  he  has  once 
comprehended  all  the  construction  and  office  of  the  arch, 
his  eye  will  never  thereafter  fall  unintelligently  upon  an 
example  of  it.  A  child  of  the  same  age  is  capable  of  com- 
prehending the  law  of  perspective.  Why  in  the  name  of 
common  sense  should  one  go  on  for  years,  walking  through 
our  streets  or  over  the  fields,  his  eye  falling  at  every  glance 
upon  some  object  which  is  subject  to  the  law,  and  yet 
never  be  instructed  regarding  it? 

"  Do  you  ask  how  much  of  the  elements  of  physics  and 
mechanics  should  be  given  to  the  child  of  tender  years  ? 
I  answer,  just  as  much  as  he  will  take,  be  the  same  more 
or  less.  And  it  is  always  safe  to  offer  him  a  little  more 
than  he  will  take.  It  can't  do  him  any  harm.  Cramming 
him  with  hard  and  lumpy  facts  from  so-called  geographies 
or  histories,  may  produce  mental  indigestion  or  colic  ;  but 
an  idea,  an  apprehended  principle,  never  yet  hurt  a 
human  being,  and  never  will  to  the  latest  syllable  of 
recorded  time.  For  myself,  I  would  not  stop  short  of 
teaching  a  child  the  doctrine  of  the  persistance  of  force 
through  all  its  transmutations.  Doubtless  he  would  at 
first  fail  to  apprehend  it  fully  ;  yet  he  would  gather  some- 
thing from  its  familiar,  picturesque  enunciation  ;  and,  as 
the  proposition  became  familiar  to  his  ear,  and  as  illustra- 
tions of  the  equivalency  of  motion,  heat,  light,  and  sound 
were  multiplied  and  repeated  to  him,  I  should  hope  that 
he  would  grow  into  an  apprehension  and  appreciation  of 
this  grand  and  all-embracing  law. 

"  If  it  be  asked  of  what  advantage  would  it  be  to  the 
youthful  mind  that  it  should  be  taught  these  and  the  like 
things,  I  answer  :  First,  That  if  to  observe  phenomena 
quickly  and  clearly,  if  to  reflect  closely  and  justly,   if  to 


acquire  an  habitual,  and  in  time,  instinctive  disposition 
to  trace  effects  to  their  causes,  if  these  things  be  among 
the  prime  objects  of  education,  comparison  may  be  chal- 
lenged between  the  matter  of  study  that  has  been  described 
and  the  work  that  now  takes  up  two-thirds  of  the  time  of 
the  scholar  of  the  age  we  have  been  considering.  Secondly, 
That  if  the  direct  usefulness  of  the  information  acquired 
be  adojjted  as  the  test  of  different  systems  of  instruction, 
the  elements  of  geometry,  physics,  and  mechanics  have 
preference,  in  an  enormous  degree,  over  the  traditional 
studies  of  the  primary  and  grammar  schools.  But,  thirdly, 
that  the  main  argument  for  the  early  acquisition  of  these 
elements  is  to  be  found  in  their  usefulness  as  a  preparation 
for  the  study  of  geometry,  physics,  and  applied  mechanics 
in  later  years 

"  The  consideration  which  weighs  more  than  any  other, 
in  my  mind,  is  that  the  introduction  of  shop-work  into 
the  public  schools,  closely  affiliated  with  exercise  in  draw- 
ing and  design,  will  give  a  place,  where  now  there  is  no 
place  at  all,  or  only  a  most  uncomfortable  one,  to  those 
boys  who  are  strong  in  perception,  apt  in  manipulation, 
and  correct  in  the  interpretation  of  25henomena,  but  who 
are  not  good  at  memorizing  or  rehearsing  the  opinions  and 
statements  of  others,  or  who,  by  diffidence,  slowness  of 
speech,  or  awkwardness  of  mental  conformation,  are  un- 
fitted for  intellectual  gymnastics.  It  is  mighty  little 
which  the  ordinary  grammar  or  high  school  does  at  pres- 
ent for  scholars  of  these  classes.  Not  only  do  they  at  the 
best,  get  little  personal  pleasure  from  their  work,  and 
receive  little  of  the  commendation  of  the  teacher,  but,  in 
the  great  majority  of  cases,  they  are  written  down  block- 
heads, at  the  start,  and  have  their  whole  school-life  turned 
to  bitterness  and  shame.  And  yet  it  not  infrequently 
happens  that  the  boy  who  is  so  regarded  because  he  can- 
not master  an  artificial  system  of  granunatical  analysis, 
isn't  worth  a  cent  for  giving  a  list  of  the  kings  of  J^ngland, 
does'nt  know  and  does'nt  care  what  are  the  princijjal 
productions  of  Borneo,  has  a  better  pair  of  eyes,  a  better 
pair  of  hands,  and,  even  by  the  standards  of  the  merchant, 
the  manufacturer,  and  the  railroad  president,  a  better 
head,  than  his  teacher 

''The  introduction  of  practice  in  the  mechanic  arts 
would  strike  a  responsive  chord  in  tlie  hearts  of  all  boys 
of  the  class  I  have  so  inadequately  described  ;  it  would 
at  once  give  them  something  to  do  in  which  they  could 
excel ;  it  would  quicken  their  interest  in  the  school ;  it 
would  save  their  self-respect ;  to  many  of  them  it  would 
open  a  door  into  a  practical  life." — Gm.  Francis  A.  W(dker, 
Presrident  of  Ma»mch%i»elt.s  Inditutc  of  Technology. 

14.       WHAT  CAN  KE  ATTEMPTED  IX  OUR  COMMON  SCHOOLS. 

"  Having  made  this  subject  a  special  study  for  the  last 
fifteen  years,  I  have  tried  to  find  out  the  best  method  of 
conbining  industrial  and  intellectual  training  in  the  lower 


MANUAL  TRAINING  AND  INDUSTRIAL  EDUCATION. 


XI 


as  well  as  higher  grades  of  schools,  and  I  have  arrived  at 
the  following  conclusions  :  — 

"  First.  All  children  should  be  made  as  familiar  as 
possible  with  the  language  and  the  common  terms  used 
in  the  common  employments  of  life. 

"  Second.  They  should  be  trained  experimentally,  and 
practically  to  a  certain  extent,  in  the  elementary  principles 
of  these  common  employments,  in  order  to  secure  for  them 
a  correct  understanding  of  their  nature  and  demands,  and 
also  a  proper  regard  and  a  mental  sympathy  for  the  repre- 
sentatives of  capital  and  labor — or  for  the  so-called  profess- 
ions and  common  employments — so  that  every  necessary 
employment  shall  be  considered  equally  honorable  and 
respectable. 

•'  Third.  The  manual  part  of  this  training  should  be 
of  the  simplest  kind  in  our  elementary  schools,  and  should 
be  given  with  the  simplest  tools  and  machinery,  and  with 
as  little  expense  as  possible.  Some  of  the  most  formidable 
objections  to  its  introduction  arise  from  the  heavy  and 
needless  expense  and  cumbersome  machinery  which  have 
hitherto  been  considered  necessary.  It  can  easily  be 
demonstrated  that  the  most  important  educational  feat- 
ures of  industrial  and  manual  training  can  be  secured 
with  simple  and  inexpensive  machinery  and  tools. 

"  Fourth.  This  training  should  be  wisely  adapted  to 
all  pupils  alike,  and  brought  within  their  reach;  especially 
of  the  largest  number,  belonging  to  the  middle  and  poorer 
classes,  who  most  need  it. 

"  Fifth.  While  all  needed  industrial  training  is  to  be 
secured,  it  should  not  be  allowed  to  interfere  with  such 
intellectual  training  as  every  child  should  receive,  but  it 
should  rather  serve  to  make  that  training  more  effectual 
and  complete.  For  no  education  is  complete  which  does 
not  primarily  develop  and  train  the  mind  and  the 
heart 

"  While  evidently  it  would  generally  be  better  to  have 
a  specifically  prepared  room  for  industrial  work,  yet  as 
the  child  under  ten  or  twelve  years  should  be  mainly  con- 
fined to  the  acquisition  of  the  most  elementary  principles, 
to  the  meaning  and  use  of  the  language  and  common 
terms  used  in  the  common  employments  of  life,  one  and 
the  same  room  and  the  same  teacher,  if  properly  qualified 
for  each  grade,  may  be  employed  for  the  first  four  or  five 
years 

"  As  soon  as  the  elementary  course  of  industrial  training, 
(for  this  training  should  be  carefully  graded  upon  natural 
and  progressive  principles),  and  it  becomes  necessary  to 
use  such  heavy  apparatus,  tools,  and  machinery  as  cannot 
be  well  introduced  into  the  school-room  above  described, 
it  will  lie  necessary  to  provide  a  special  industrial  room, 
in  which  the  most  appropriate,  but  simple,  tools  and 
machinery  may  be  used  regularly,  but  alternately  with  the 
necessary  intellectual  exercises.  But  it  must  be  continu- 
ally born  in  mind  that  both  industrial  and  intellectual 


training  in  our  public  schools  should  be  regarded  and 
used  as  means  of  such  an  education  as  will  be  preparatory 
to  some  future  employment  or  profession,  and  not  for  the 
specific  purpose  of  teaching  trades  or  for  the  acquisition 
of  book-knowledge.  All  preliminary  school-training  should 
be  so  conducted  as  to  furnish  such  a  preparation  as  is 
needed  by  all  alike  who  expect  to  follow  any  trade  or 
profession. 

"  When  this  preparatory  training  is  completed,  after 
leaving  the  high  school  or  college,  then  our  pupils  should 
enter  the  trade  and  professional  schools,  where  they  can 
enjoy  enlarged  opportunities  to  fit  themselves,  theoretic- 
ally and  practically,  for  their  chosen  life-employment." — 
Zalmon  Richards,  Washington,  D.  C. 

15.  MANUAL   TRAINING    INTRODUCED    IN    ALL   THE   GRADES. 

"A  discussion  and  application  of  the  principles,  methods 
and  value  of  manual  training  was  begun  in  this  school 
nearly  six  years  ago  Four  rooms  in  the  school  are  now 
devoted  to  handwork.  One  is  used  for  clay  and  wax 
modeling;  another  for  paste-board  work  and  wood  carving; 
the  third  for  woodwork  and  the  fourth  to  the  making  of 
relief  maps.  The  hand  work  is  done  by  all  grades  when- 
ever and  wherever  it  is  needed  to  assist  in  the  development 
of  a  subject.  Much  independent  work  is  done  by  pupils 
outside  of  school  hours.  The  financial  means  are  limited, 
the  teachers  lack  training  and  the  methods  are  crude.  The 
results,  however,  under  these  unfavorable  circumstances, 
prove  that  hand  work  trains  children  to  love  work,  to  be 
cleanly,  orderly  and  systematic.  They  prove  that  hand- 
work lies  at  the  basis  of  logical  reasoning  and  clear  thinking; 
that  making  with  the  hands  is  organically  connected  with 
all  other  branches  of  study,  and  without  it  the  harmonious 
development  of  body,  mind  and  soul  is  an  impossi- 
bility. Manual  training  is  intrenched  in  the  soundest 
psychology;  it  finds  its  most  cogent  support  in  the  phil- 
osophy of  history,  and  its  noblest  use  in  the  needs  of 
humanity.  It  has  come  to  stay  if  trained  teachers  can  be 
found  to  keep  it." — Francis  W.  Parker,  Principal  Cook  County 
Normal  School. 

16.  COURSE    OF    STUDY    FOR    A    MANUAL    TRAINING   SCHOOL 

OUTLINED. 

"  Turning,  then,  to  the  relation  which  the  manual-train- 
ing sustains  to  the  technical  school,  let  me  for  a  moment 
consider  its  curriculum.  It  must  evidently  give  a  thorough 
training  in  the  lower  mathematics — arithmetic,  algebra, 
plane  and  solid  geometry.  There  will  be  abundant  oppor- 
tunity to  use  the  facts  and  methods  of  arithmetic  and 
geometry  in  the  shops  and  drawing-room  ;  but  no  famili- 
arity with  the  facts,  no  faculty  in  instrumental  drawing, 
should  obscure  the  value  of  purely  geometrical  reasoning. 
Algebra  is  rarely  applied  unless  one  needs  its  methods  in 
higher  physics,  mechanics,  and  astronomy.  As  a  rule,  not 
one  student  in  five  goes  far  enough  in  mathematics,  pure 
and  applied,  to  make  an  intelligent  use  of  his  algebra  ; 


xu 


C.  HENNEGKE  CO.,  MILWAUKEE  AND  CHICAGO. 


nevertheless,  his  knowledge  of  its  elementary  methods 
must  be  full  and  clear. 

"  The  elements  of  botany,  chemistry,  and  physics,  in- 
cluding at  least  their  phenomenal  sides,  and  some  of  the 
more  obvious  generalizations,  should  be  thoroughly 
studied  during  the  course  at  the  manual ;  but  in  every 
case  the  laboratory  method  should  be  used.  Generaliza- 
tions made  by  an  author  for  which  no  sufficient  evidence 
is  presented  to  the  student,  are  of  no  educational  value. 
They  are  like  assertions  in  history,  or  geography,  which 
are  to  be  taken  on  faith.  Real  objects,  personal  experi- 
ments and  tests — I  care  not  how  familiar  they  may  be  to 
the  teachers —must  give  the  student  his  basis  for  judg- 
ment and  generalizations.  Above  all,  I  would  advise 
teachers  to  avoid  putting  their  elementary  students  at 
really  new  work  ;  at  strictly  original  research.  All  the 
ground  should  be  familiar  to  the  teacher,  and,  though  the 
pupil  approaches  it  as  a  learner  —as  a  discoverer  of  new 
truth — the  teacher  should,  as  a  rule,  know  what  he  ought 
to  find.  I  have  no  patience  with  premature  researches 
and  childish  inventions.  I  am  inclined  to  think  that 
chemistry  is  easier  to  teach  in  a  laboratory  than  physics, 
on  account  of  the  latter's  great  demand  for  skill  in  manipu- 
lation and  construction  in  the  physi  cal  laboratory.  One 
must  be  somewhat  familiar  with  all  work  in  woods  and 
metals  in  order  to  properly  study  physics.  In  future,  we 
shall  put  our  study  of  heat,  electricity,  sound  and  light, 
after  the  study  of  chemistry,  in  order  to  give  time  for  the 
tool-training  needed. 

"In  a  technical  school,  students  have  little  time  for 
history  and  literature ;  hence  both  should  come  systemat- 
ically into  the  preliminary  or  manual-training  school.  The 
students  are  old  enough  to  appreciate  something  of  style, 
and  to  tell  good  writing  from  bad.  By  conscious  imitation 
of  good  writers,  they  really  learn  to  say  things  clearly,  to 
use  language  accurately  when  they  know  what  the  thought 
is  which  they  are  to  express  ;  and  they  can  easily  master 
the  simple  mechanical  details  of  composition.  American 
and  English  history,  and  possibly  some  general  European 
history,  should  be  learned  early,  and  always  with  a  certain 
amount  of  geographical  study. 

"  No  technical  student  should  be  ignorant  of  the  ele- 
ments of  Latin,  and  a  fair  reading  command  of  at  least 
one  modern  language  in  addition  to  his  own.  No  study 
of  words  is  so  fruitful  in  clear  analysis  and  a  high  appre- 
ciation of  the  importance  of  slight  changes  of  form,  of 
endings,  and  auxiliaries,  as  that  of  Latin.  It  matters 
comparatively  little  whether  the  student  remembers  in 
after  years  the  vocabulary  or  the  exact  forms  of  Latin 
verbs  ;  the  important  thing  is  that  he  will  never  look 
upon  any  language  without  feeling  the  influence  of  his 
Latin  study.  Either  French,  German,  or  Spanish,  should 
be  carefully  studied  at  least  one  year  before  entering  the 
technical  school. 


"  Experience  has  shown  that  the  drawing  course  can 
be  carried  much  farther  in  the  preparatory  schools  than 
was  formerly  supposed  possible.  In  the  first  i:)lace,  they 
readily  master  orthographic  and  isometric  projections,  and 
employ  them  naturally  in  both  freehand  and  instrumental 
work.  They  rapidly  become  expert  in  the  use  of  T  square, 
triangles,  drawing-pen  and  brush,  using  India  ink  or 
colors.  Accuracy,  clearness  and  finish  are  acquired  by 
systematic  study  of  elements,  and  there  is  no  lack  of  in- 
terest, though  picture-making  is  very  rarely  indulged  in. 
A  certain  number  of  very  instructive  drawings  must  be 
made  by  each  student  to  illustrate  abstract  principles  and 
to  represent  ideal  forms ;  but  in  all  cases  where  it  is  poss- 
ible to  draw  from  objects,  objects  only  should  be  used. 

"  In  the  selection  of  objects,  great  care  should  be  taken 
to  find  simple  ones,  and  yet  a  wide  variety  Pupils  are 
rarely  fit  to  make  their  own  selections.  Some  of  the 
elementary  principles  of  descriptive  geometry  may  be 
introduced.  With  the  exception  of  a  little  conventional 
perspective,  so-called,  I  would  leave  perspective  for  the 
technical  school. 

"  The  elements  of  tool-work  in  woods  and  metals  I 
regard  as  eminently  appropriate  to  the  educational  work 
in  the  manual-training  school.  It  is  admirably  fitted  to 
meet  the  physical,  mental,  and  moral  natures  of  all  healthy 
boys  from  the  age  of  thirteen  to  eighteen.  I  make  this 
statement  without  any  reservation  whatever.  I  am  speak- 
ing now  about  manual-training  schools,  but  were  I  talk- 
ing about  classical  schools  which  do  not  have  tool-work 
in  their  course  of  study,  I  should  say  the  same  thing ; 
nay,  I  think,  I  should  say  it  with  greater  emphasis  in 
reference  to  those  classical  schools  which  afford  so  little 
opportunity  for  dealing  with  the  concrete  and  forgetting 
primitive  notions  of  the  laws  and  properties  of  matter  and 
force." — Dr.  C.  M.  Woodward,  Principal  Manual  Training 
Sdwol,  Washington  University,  St.  Louis,  Mo. 

17.      MANUAL     TRAINING     IN     PUBLIC     SCHOOLS    A     SUCCESS. 

H.  W.  Compton,  Superintendent  of  the  Public  Schools 
of  Toledo,  Ohio,  gives  an  account  of  the  successful  work 
acccomplished  in  the  Manual  Training  School  at  that  place 
in  the  following  language : — • 

"The  manual-training  work  began  in  a  humble  way 
in  a  small  room,  with  sixty  boys  and  girls  in  the  classes. 
These  were  pupils  of  the  public  schools,  and  did  their 
regular  work  in  connection  with  free-hand  and  mechanical 
drawing,  and  carpentry  in  the  manual  department.  The 
school  began  to  make  friends  of  its  enemies.  Those  who 
had  indulged  in  hostile  criticism  of  the  enterprise,  gradually 
grew  silent.  The  second  year  a  large  four-story  brick 
building  was  erected,  and  equipped  with  steam  power, 
benches,  tools,  lathes,  forges.  Ample  room  was  provided 
for  free-hand  and  mechanical  drawing,  special  prominence 
being  given  to  architectural  iind  perspective  work.  A 
domestic  economy  department  was  added,  in  which  girls 


MAlSrUAL  TRAINING  AND  INDUSTRIAL  EDUCATION. 


Xlll 


study  the  chemistry  of  foods  and  their  preparation  for  the 
tiil)le.  A  Sewing  class  has  been  organized,  in  which  the 
cutting  and  fitting  of  garments  is  taught.  A  class  in  clay- 
modeling  mold  the  forms  and  designs  used  in  the  arts. 
The  students  have  increased  to  about  three  hundred  in  all 
departments,  and  from  the  beginning  have  manifested  the 
greatest  interest  and  enthusiasm  for  the  work.  This 
intense  interest  in  the  new  work  had  at  first  to  be  so 
modified  as  not  to  interfere  with  the  regular  prosecution  of 
the  intellectul  or  class-room  work  proper.  After  some 
experimenting,  the  two  lines  of  work  were  harmoniously 
adjusted  to  each  other.  Boys  and  girls  pass  from  their 
algebra  and  history  to  their  drawing,  wood-carving,  or  clay 
modeling,  and  from  these  again  to  geometry  and  English 
literature,  with  a  hearty  zest  for  all.  The  girls  in  the 
domestic  economy  department  con  their  Vergils  or  don 
their  cooking  suits,  and  prepare  with  ease  and  grace  such 
savory  and  palatable  food  as  would  mollify  the  most  radical 
opponent  of  industrial  training.  In  short,  there  is  such 
a  harmonious  blending  of  the  useful  and  the  practical  with 
the  higher  intellectual  culture,  that  the  unprejudiced  needs 
but  to  inspect  the  work  to  be  convinced  of  the  reasonable- 
ness and  great  utility  of  such  training.  The  advantages  of 
tlie  manual  department  are  open  to  none  except  pupils 
of  the  public  schools.  Those  who  take  the  manual  work 
do  the  same  amount  of  mental  work  in  the  regular  class- 
room studies  as  those  who  have  no  work  in  the  industrial 

department 

"  Manual  training  is  a  successful  and  satisfactory  branch 
of  study  in  the  Toledo  schools,  not  because  it  is  theoretically 
a  good  thing,  nor  because  it  is  given  undue  prominence 
and  special  advantages,  but  because  it  is  in  harmony  with 
the  nature  of  things,  has  a  noble  purpose  in  view,  has  been 
well  managed,  has  good  instructors,  and  has  proved  itself 
of  great  value  to  the  pupils." 

18.      THE    ECONOMIC   SIDE    OF    MANUAL   TRAINING. 

"  I  believe  the  work  shops  of  manual  training  have  a 
pedagogic  and  an  economic  value;  that  the  economic 
side  of  that  work  is  that  it  should  enable  the  person  who 
had  done  it  to  do  better  work,  to  bring  out  l^etter  results, 
to  accomplish  something  in  the  way  of  getting  his  liveli- 
hood; and  that  the  pedagogic  side  is  to  do  something 
towards  making  him  a  larger  and  nol)ler,  more  perfect  and 
more  complete  man.  Undoubtedly  this  question  of  man- 
ual instruction  has  its  utility  on  both  these  sides.  There 
cannot  be  anything  in  the  way  of  instruction,  anything  in 
the  way  of  training  or  discipline,  which  shall  not  have 
its  pedagogic  value.  Yet  it  appears  to  me  that  the  chief 
value  of  this  manual  training  belongs  on  its  economic 
side,  and  I  am  disposed  to  protest  right  here  against  the 
assertion  tha,t  is  sometimes  made  that  they  do  not  care  to 
discuss  the  economic  side,  that  will  have  nothing  to  do 
with  this.     I  believe  the  time  is  rapidly  coming,  and  we 


are  being  forced  to  it  by  the  circumstances  round  about 
us,  when  young  men  and  young  women  must  get  in 
schools  their  instruction  in  trades,  because  there  will  be 
no  other  possible  way  in  wliich  they  may  get  that  instruc- 
tion; and  that  boys  and  girls  will  come  out  of  those  insti- 
tutions ready  to  earn  their  daily  bread.  I  cannot  see  how 
this  is  to  be  got  at  entirely  except  through  educa- 
tion."— Dr.  Selim  H.  Peabody,  Premie  at  Illinois  University. 

19.      NECESSITY    FOR   TECHNICAL   SCHOOLS. 

"  One  of  the  things  well  settled  is  that  we  are  to  have 
a  great  multitude  of  schools  for  instruction  in  the  arts, 
of  variovis  grades  and  peculiarities.  Those  who  object 
to  anything  more,  to  reaching  the  children  of  the  people 
more  widely,  concede  that  this,  at  least,  is  coming.  The 
necessities  of  diverse  manufacturing  industries,  the  trend 
of  production  and  trade,  the  pressure  of  domestic  com- 
merce, the  competition  of  foreign  skilled  labor,  trained  in 
such  schools  abroad,all  make  this  inevitable.  We  cannot 
now  hold  our  own  among  civilized  and  productive 
nations  without   it 

"  Everyone  can  see  that  departments  in  colleges  and 
universities  linking  the  education  of  the  hand  with 
established  courses  of  higher  instruction  are  multiplying, 
and  that  no  departments  are  to  multiply  faster,  though 
independent  institutions  for  the  same  end  may  out- 
strip them.  Municipalities  lying  near  to  great  stores 
of  raw  material  and  of  coal  will  ere-long  be  obliged 
to  multiply  these;  the  enterprise  of  business  men  and 
manufacturers  in  such  marts  of  produce  as  Kansas 
City,  Omaha,  and  Minneapolis,  will  emulate  the 
example  of  those  of  Chicago;  the  division  of  labor  going 
on  so  fast,  and  the  distribution  of  specific  trades,  each 
with  its  own  technique,  will  originate  other  schools,  like 
and  unlike,  in  smaller  centres.  We  shall  have  towns  like 
Chemnitz  in  Saxony,  with  a  half  a  million  of  dollars  of 
property  in  Higher  Technical,  Foremen's,  Builder's, 
Machine,  Drawing,  Weaving,  Hosiery,  Agricultural,  Tail- 
ors', and  "Fort-bildung"  Schools— the  work  of  100,000 
persons  within  the  city  connected  with  that  of  twice  the 
number  without,  and  all  other  types  of  education  on  a 
par  with  that  which  prepares  for  the  university.  In 
all  these  schools  for  direct  instruction  in  the  arts  the 
principle  must  l)e  difi'erentiation,  to  a  degree  which  is  not 
possible  in  general  education,  lower  or  higher,  though  this 
must  be  less  and  less  independent  of  it.  Even  our  high 
schools  cannot  now  be  run  in  one  mould.  The  useful 
art  institutes  of  various  regions,  and  even  of  the  same 
region,  must  needs  differ.  Generous  men,  too,  are  quite 
as  likely  to  follow  the  example  of  Purdue  and  Case  and 
Rose  as  those  of  the  great  names  whose  munificence  has 
made  the  older  colleges  powerful,  and  each  to  have  a 
technological  scheme  of  his  own  which  his  wealth  shall 
carry  out." — Dr.  Gearye  F.  Magmm,  President  Iowa  College. 


^vi  i^ilil^ii-ilxil^ 


BY    CHAS.    F.    ZIMMERMANN. 


'The  ft)regoing  testimony  to  the  value  and  necessity 
I  of  manual  training  and  industrial  education  should 
inspire  our  educators  and  friends  of  a  rational  edu- 
cation to  introduce  such  changes  into  our  schools, 
as  will  make  the  training  given  to  our  youth  more 
practical,  and  more  in  accordance  with  the  demands 
of  the  present.  Better  methods  of  instruction  in  the 
branches  taught  in  our  schools  and  a  limitation  of 
the  time  now  devoted  to  them  are  demanded  to  make 
room  for  teaching  elementary  science,  drawing,  modeling 
and  simple  wood- work.  The  same  course  of  training  that 
will  cause  the  pupil  to  observe  nature  accurately,  and 
fix  these  facts  indelibly  in  his  mind;  that  will  cause  him 
to  reason  and  draw  correct  conclusions  from  his  observa- 
tions, are  as  necessary  in  artistic  as  in  scientific  training; 
and  when  the  hand  performs  its  part,  habitually  record- 
ing these  observations  by  means  of  writing,  drawing 
and  modeling,  we  have  laid  the  foundation  for  a  rational 
development  of  the  mind.  If  this  change  is  to  be  effected, 
it  must  be  through  our  teachers,  who  should  take  the 
initiatory  steps,  securing  these  benefits  to  themselves. 
Teachers  should  be  close  students  of  nature,  logical 
reasoners,  and  skilled  in  the  use  of  the  pen,  pencil  and 
modeling  tool.  From  the  primary  teacher  to  the  univer- 
sity professor,  all  will  find  this  power,  this  skill  indispen- 
sible  in  making  their  acquisitions,  in  their  researches, 
and  in  their  teaching. 

While  our  common  schools  provide  for  an  elementary 
course  in  drawing,  provision  for  a  thorough  art  education 
should  be  made  in  all  our  training  schools  for  teachers,  in 
our  art  schools,  in  technical  schools  and  through  museums 
of  fine  and  industrial  art.  Ample  provision  must  be  made 
for  all  whose  work  in  life  demands  artistic  training.  And 
if  we  are  to  succeed  in  interesting  our  people  in  this  general 
art  education,  we  must  encourage  the  technical  side  of  art 
first,  the  application  of  art  to  industry.  But  this 
national  art  training  must  have  attained  a  certain  de- 
gree of  development  before  we  can  look  for  any  very  marked 
results,  and  raised  up  a  class  of  creative  artists  and 
designers,  who  will  give  to  our  products  character  and 
value.  Every  manufacturing  center  will  then  become  an 
art  center,  and  the  people  be  gradually  educated  in  taste 
to  appreciate  the  good  from  the  bad  in  art.  This  will  tend 
to  give  us  beautiful  homes  as  well  as  artistic  furnishings. 
It  is  scarcely  twenty  years  since  a  general  movement  for 
the  art  education  of  our  people  was  made  by  the  intro- 
duction of  drawing  into  the  public  schools.    This  has  been 


followed  up  by  the  establishment  of  art  schools  in  all  parts 
of  tlie  land.  The  foundations  of  three  Museums  of  art 
have  been  laid.  There  are  art  collections  in  connection 
with  most  of  our  Art  Schools,  and  others  in  Galleries  inde- 
pendent of  schools.  The  Museums  (to  which  Art  Schools 
are  attached)  are,  the  Metropolitan  Museum  of  New  York, 
the  Pennsylvania  Museum  of  Philadelphia,  and  the  Boston 
Museum  of  Fine,  Arts.  Art  Schools  are  located  in  San 
Francisco,  New  Haven,  Urbana,  Baltimore,  Boston,  St. 
Louis,  New  York,  Syracuse,  Cincinnati,  Philadelphia,  Pitts- 
burgh, Milwaukee,  Chicago,  Providence,  Columbus,  Detroit, 
and  Art  classes  are  to  be  found  in  many  of  our  colleges  and 
higher  institutions  of  learning. 

There  is  no  doubt  that  the  opportunities  afforded  our 
youth  will  develop  certain  national  characteristics.  At 
present  American  art  reflects  the  external  conditions  of 
American  life.  The  idea  of  self-interest  has  so  far  been 
more  efficacious  in  developing  American  art,  than  the  love 
of  the  l)eautiful.  It  is  founded  on  the  desire  to  make 
money.  Art  students  who  have  attended  these  schools 
urged  by  the  prospect  of  earning  something  immediately 
upon  the  completion  of  their  course,  have  gone  into  good 
industrial-art  positions  and  nearly  always  succeeded,  while 
those  who  have  attended  with  a  view  of  establishing  them- 
selves as  professional  artists  have  not  done  near  so  well. 
In  time,  as  opportunities  for  thorough  training  grow  larger, 
we  shall  produce  admirable  results.  But  it  is  certain  that 
it  takes  two  or  three  generations  of  culture  and  study  to 
produce  a  high  class  of  artists. 

The  system  of  technical  art  training  for  women  in 
America  is,  without  doubt,  the  best  and  most  thorough  in 
the  world.  Woman's  work  in  this  line  has  been  quite 
successful,  though  as  a  professional  artist  she  has  failed  to 
assert  herself. 

While  Art  Schools  will  develop  in  all  large  centers, 
it  will  be  necessary  to  the  highest  development  of  art  in 
America  to  create  a  National  Art  School,  or  Art  University, 
with  its  Museum  of  Fine  and  Industrial  Art.  I  have 
quoted  in  the  following  pages  from  artists  and  teachers 
known  to  the  general  pul)lic,  and  trust  that  the  hope 
expressed  may  be  realized  in  the  near  future. 

2.      WHO    IS    LIKELY    TO    ENDOW    A    NATIONAL    ART   SCHOOL. 

"  It  is  doubtful  whether  our  government  can  ever  be 
induced  to  establish  a  National  Art  School  of  a  high  order, 
that  will  compare  as  favorably  with  European  Art  Schools, 
as  the  first  of  our  colleges  and  universities  do  with  theirs; 


AB  T  ED  UCA  TION. 


XV 


and  since  such  institutions  cannot  be  made  self-supporting 
the  only  hope  remains,  that  some  one  or  more  of  our 
wealthy  merchant  princes,  who  have  sufficient  appreciation 
and  taste  for  art  to  invest  large  sums  of  money  in  private 
collections,  come  forward  and  donate  the  same,  together 
with  sufficient  means  to  found  a  National  Art  School  and 
Museum  that  will  do  for  this  country  what  South  Kensing- 
ton has  done  for  England,  Paris  for  France,  Dusseldorf  and 
Munich  for  Germany,  Rome  and  Florence  for  Italy.  When 
this  is  done,  then,  and  not  until  then,  shall  we  cease  '  to 
hear  of  the  necessity  of  importing  skilled  workmen  for  our 
art  industries,'  and  silence  also  the  remaining  few  of  our 
leaders  in  education  who,  for  some  unaccountable  reason, 
do  all  they  can  to  check  the  progress  of  this  new  feature  in 
our  educational  system." — Proj.  Otto  Fuchs,  Principal 
Maryland  Institute  Schools  of  Art  and  Design. 

3.      WHY    WE    NEED    A    MUSEUM. 

W.  Martin  Conway  in  the  Magazine  of  Art,  writes  thus 
of  the  value  of  a  museum : — 

"The  position  which  a  library  takes  to  the  student  of 
history  or  literature  is  occupied  by  a  museum  in  the  case 
of  the  student  of  art.  Whether  his  object  be  to  trace  the 
development  from  age  to  age  and  from  country  to  country 
of  the  artistic  spirit  which  is  planted  in  all  mankind,  or 
whether  he  himself  desire  to  take  up  a  position  in  the 
ranks  of  the  army  of  laborers  in  the  field  of  production, 
he  is  alike  compelled  to  fall  back  for  counsel,  for  warning 
and  for  teaching  on  the  works  of  others  gone  before." 

4.      THE    GREAT    INnuSTRIAL-ART    MUSEUM    AT    VIENNA. 

We  give  the  following  extracts  from  his  description  of 
the  great  Industrial  Art  Museum  at  Vienna  : — 

"  The  Austrian  Museum  belongs  to  the  technical  class; 
its  object  is  technical  as  opposed  to  classical  education;  its 
methods  are  practical  rather  than  theoretical  or  historical. 
The  most  prominent  feature  in  the  classification  of  the 
collections  is,  as  will  be  supposed,  the  division  according 
to  nature.  The  principal  classes  are :  works  in  the  precious 
metals,  in  the  baser  metals,  in  clay,  in  glass,  works  of 
textile  art,  furniture,  wood  carving,  sculpture,  and 
miscellaneous 

"  On  the  principle  that  *  the  museum  is  not  intended  to 
satisfy  the  foolish  love  of  sight  seeing  (soU  nicht  die  muessige 
Schardust  befriedigcn),^  the  first  thing  was  to  spread  abroad 
a  correct  conception  of  its  real  objects,  and  to  enlist  the 
sympathies  not  only  of  the  producing,  but  of  the  purchasing 
public.  With  this  end  in  view,  public  courses  of  lectures 
were  delivered  on  various  subjects  connected  with  art,  and 
the  crowds  which  flocked  to  hear  them  proved  that  they 

satisfied  a  want  previously  unrecognized 

No  less  important  for  students  are  the  valuable  collections 


of  first  rate  productions  —  photographic,  galvano-plastic, 
and  other — which  are  kept  for  sale  in  the  museum  at  a 
cheap  rate 

5.    VALUE   OP   EXHIBITIONS. 

"  During  the  summer  of  1881  no  less  than  three  exhibi- 
tions were  held :  the  first  of  works  of  photographic  art  of 
all  kinds;  the  second  of  glass  and  jwttery;  and  the  third 
of  paintings,  carvings  and  other  objects.  These  perform  a 
three-fold  function.  They  act  educationally,  enabling  the 
student,  by  the  assistance  of  the  valuable  catalogue  specially 
prepared  for  each,  to  become  acquainted  with  the  various 
branches  of  individual  art;  they  kindle  a  wholesome  com- 
petition among  exhibitors;  and  they  bring  the  public 
constfintly  face  to  face  with  the  best  producers,  and  enable 
them  to  judge  for  themselves  of  the  relative  merits  of  this 
or  the  other  manufacturer,  whether  famous  or  less  famed. 
Thus  they  do  away  with  much  of  the  need  of  advertising, 
which  is  one  of  the  curses  of  modern  civilization.  In  the 
case  of  such  an  exhibition  as  that  of  pottery,  all  the  objects 
are  for  sale  on  the  spot  at  fixed  prices 

6.      TECHNICAL    ART    SCHOOLS    IN    AUSTRIA. 

"  If  the  best  way  to  raise  the  taste  of  the  public  at  the 
present  day  has  been  shown  by  experience  to  be  that  of 
exhibitions,  such  have  by  no  means  done  away  with  the 
necessity  of  schools  for  the  training  of  workmen  in  the 
more  refined  methods  of  production.  Such  schools  have 
been  established  under  the  inspection  of  the  Austrian 
Museum  in  all  parts  of  the  land — schools  of  drawing  at 
Haida,  and  Steinschoenau,  and  many  other  places;  schools 
of  wood  carving  in  the  Tyrol  at  St.  Ulrich,  Hallein  and 
elsewhere;  a  school  of  porcelain  work  at  Elbogen;  schools 
of  embroidery,  masonry,  goldsmith's  work,  etc.,  in  different 
parts  of  Vienna.  The  object  in  Ciich  case  is  to  direct  and 
develop  a  taste  already  manifested  by  the  inhal)itants  of 
the  particular  locality,  and  thus  to  increase  their  hapjiiness 
and  prosperity. 

"  Naturally,  however,  the  whole  strength  of  the  museum 
organization  is  thrown  into  the  high  school  of  technical 
art,  which  is  held  within  its  walls.  It  is  under  the  govern- 
ance of  the  Director  of  the  museum,  three  of  the  curators 
and  a  member  of  the  Chamber  of  Commerce.  The  school 
is  divided  into  four  parts,  which  deal  respectively  with 
architecture,  sculpture,  decorative  painting,  and  figure 
painting,  all  primarily  in  their  relation  to  art-industries. 
There  is,  further,  an  introductory  school  of  drawing.  In 
addition  to  practical  teaching  in  the  handling  of  colors 
and  tools,  there  are  also  courses  of  theoretical  study  de- 
voted to  such  subjects  as  perspective,  the  theory  of  stjde, 
the  anatomy  of  men  and  animals,  the  theory  and  chemistry 
of  colors,  the  history  of  art,  artistic  mythology,  and  so 
forth." 


XVI 


C.  HENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


7.  WASTE    OF    TIME    AND    TALENT    FOR   WANT   OF    A 

MUSEUM. 

Sir  Joshua  Keynolds,  speaking  of  the  value  of  an 
Academy,  says: — 

"  The  principal  advantage  of  an  Academy  is,  that,  besides 
furnisliing  able  men  to  direct  the  student,  it  will  be  a 
repository  for  the  great  examples  of  the  Art.  These  are  the 
materials  on  which  genius  is  to  work,  and  without  which 
the  strongest  intellect  may  be  fruitlessly  or  deviously 
employed.  By  studying  these  authentic  models,  that  idea 
of  excellence,  which  is  the  result  of  the  accumulated  expe- 
rience of  past  ages,  may  be  at  once  acquired;  and  the  tardy 
and  obstructed  progress  of  our  predecessors  may  teach  us 
a  shorter  and  easier  way.  The  student  receives,  at  one 
glance,  the  principles  which  many  artists  have  spent  their 
whole  lives  in  ascertaining;  and,  satisfied  with  their  effect, 
is  spared  the  painful  investigation  by  which  they  came 
to  be  known  and  fixed.  How  many  men  of  great  natural 
abilities  have  been  lost  to  this  nation  for  want  of  these 
advantages !  They  never  had  an  opportunity  of  seeing 
those  masterly  efforts  of  genius,  which  at  once  kindle  the 
whole  soul,  and  force  it  into  sudden  and  irresistible 
approbation. 

"  Raffaelle,  it  is  true,  had  not  the  advantage  of  studying 
in  an  Academy;  but  all  Rome,  and  the  works  of  Michel 
Angelo  in  particular,  were  to  him  an  Academy.  On  the 
sight  of  the  Capella  Sistina,  he  innnediatoly,  from  a  dry, 
gothic,  and  even  insipid  manner,  which  attends  to  the 
minute  accidental  discriminations  of  particular  and  indi- 
vidual objects,  assumed  that  grand  style  of  painting,  which 
improves  partial  representations  by  the  general  and 
invariable  ideas  of  nature. 

"  Every  seminary  of  learning  may  be  said  to  be  sur- 
rounded with  an  atmosphere  of  floating  knowledge,  where 
every  mind  may  imbibe  somewhat  congenial  to  its  own 
original  conceptions.  Knowledge,  thus  obtained,  has 
always  something  more  popular  and  useful  than  that  which 
is  forced  upon  the  mind  by  private  precepts  or  solitary  med- 
itations. Besides,  it  is  generally  found  that  a  youth  more 
easily  receives  instruction  from  the  companions  of  his 
studies  whose  minds  are  nearly  on  a  level  with  his  own, 
than  from  those  who  are  mu(!h  his  superiors;  and  it  is 
from  his  equals  only  that  he  catches  the  fire  of  emulation." 

8.  FACILITIES    FOR   STUDY    OF    ART    IN   NEW    YORK 

INSUFFICIENT. 

"  The  fact  is  that,  so  far  as  public  facilities  are  concerned, 
the  study  of  art  or  archaeology  cannot  be  pursued  at  all  in 
New  York.  The  apparatus  is  not  merely  deficient,  it  does 
not  exist.  The  only  collection  of  books  on  the  subject  of 
art  that  are  within  the  reach  of  the  public  are  in  the  Astor 
Library,  which  is  free,  and  in  the  Society  Library,  which 
is  not  free.     In  the  Astor  Library  every  facility  is  given 


with  great  courtesy  to  students,  and  the  Society  Library 
(at  least  this  has  been  our  own  experience)  amiably  waives 
its  rules  and  regulations  for  the  moment  on  the  presen- 
tation of  proper  credentials.  But  neither  Library  makes 
any  pretention  to  completeness  or  even  to  great  fullness  in 
its  art-department,  and  such  as  these  are,  they  consist 
entirely  of  books,  chiefly  books  of  engravings.  Under  the 
able  direction  of  Professor  William  R.  Ware,  the  library  of 
Columbia  College  has  been  enriched,  as  w^e  understand, 
with  an  important  collection  of  architectural  photograplis, 
which  is  all  the  time  being  added  to.  Those  who  remem- 
ber the  collection  of  photographs  which  Mr.  Ware  made 
for  the  Architectural  Department  of  the  Institute  of 
Technology  in  Boston,  while  that  Department  was  so 
fortunate  as  to  have  him  at  its  head,  wall  need  no  assurance 
of  the  value  of  the  work  he  is  doing  in  his  place  in 
Columbia  College;  but  the  collection  which  he  is  making 
there,  although  we  have  no  doubt  it  is  open,  so  far  as  is 
possible,  to  all  who  can  show  a  good  claim  to  its  use,  is 
still  a  private  collection;  beside  that  it  is  confined  to  one 
subject,  and  does  not  at  all  meet  the  need  we  are  concerned 
with. 

"  Let  us  suppose  the  case  of  a  class  of  young  people 
formed  here  in  New  York,  for  the  purpose  of  study  in 
some  one  of  the  divisions  of  the  broad  field  of  art.  As 
has  been  said,  there  is  no  museum  where  they  can  go  to 
see  examples  of  what  hiis  been  done  in  that  field;  there  is 
no  library  where  they  can  find  prints  or  photographs,  and 
even  the  illustrated  books  belong,  for  the  most  part,  to  the 
ornamental  rather  than  to  tlie  useful  sort.  If  the  class 
were  formed  in  London,  it  would  not  l)e  necessary  for  the 
members  to  expend  a  penny  for  the  illustrations  of  their 
subject,  they  would  simply  meet  at  the  British  Museum, 
or  at  the  National  Gallery,  or  at  the  South  Kensington 
Museum,  and  there  make  their  observations,  and  take 
their  notes.  It  is  connnon  to  read,  in  the  advertising- 
columns  of  the  English  literary  journals,  notices  to  the 
effect  that  Miss  A-,  or  Miss  B.,  or  Prof  C.  will  lecture  in  the 
Egyptian  Room,  or  the  Halls  of  Greek  Sculpture,  or  in 
some  otiior  one  of  the  departments,  on  a  given  day,  at  a 
given  hour;  and  not  in  London  alone,  but  in  all  the  great 
cities  of  Europe,  this  mode  of  in.struction  is  so  common 
as  no  longer  to  attract  attention. 

9.      EACH    ART   STUDENT    AT    PRESENT   OBLIGED   TO    FORM 
A    COLLECTION   OF    HIS    OWN. 

"Well,  we  do  not  have,  and  shall  not  for  a  century  have 
these  advantages,  and  so  we  must  do  what  we  can  without 
them.  Every  one  in  America  who  has  applied  himself  to 
studies — it  makes  ])ut  little  difference  in  what  field — has 
been  obliged  to  work  at  his  own  charges,  and  supply  him- 
self with  books,  photographs,  and  documents  of  all  sorts  at 
his  own  expense.  This  is  ofl;en  a  heavj^  burden,  and  yet 
it  is  one  that  cannot  be  avoided  if  an  American,  obliged  to 


AB  T  ED  UCA  TION. 


xvii 


stay  at  home,  would  make  {jrogress  in  any  field  of  research. 
It  is  true  that,  let  him  do  all  he  may  with  such  means  as 
in  general  fall  to  the  share  of  scholars,  he  cannot  accomplish 
any  work,  of  importance  to  persons  who  hav^e  had  the 
greater  advantages  we  have  described.  He  must  be  con- 
tent if  he  enriches  and  enlarges  his  own  mind,  or  excites 
an  interest  in  his  subject  in  those  about  him,  or  adds — -if 
it  be  not  until  he  has  done  with  what  he  has  collected  at 
so  much  expense  and  pains — to  the  slowly  growing  store 
of  aids  to  learning  which  time  will  accumulate  here  at 
home. 

"  This,  however,  it  will  be  admitted,  is  not  a  way  of 
proceeding  that  is  calculated  to  produce  the  best  fruit  for 
the  public.  Everything  with  us  to-day  tends  more  and 
more  to  system;  we  are  learning  the  advantages,  on  the 
one  side,  of  division  of  labor,  not  hitherto  possible,  perhaps 
seeing  how  few  there  were  to  do  the  work  required  ;  and, 
on  the  other  hand,  we  are  seeing  more  and  more  clearly 
the  advantage  there  is  in  having  our  means  and  appliances 
where  they  (!an  be  got  at,  and  made  use  of  by  the  greatest 
number  of  people.  One  thing,  we  observe,  is  hapi)ening 
in  Europe;  as  the  great  collections  come  to  the  hammer, 
the  best  things  in  them  are  finding  their  way  to  the 
public  museums  and  galleries;  in  not  a  few  cases,  these 
collections  are  left  by  legacy  directly  to  the  nation;  some- 
times this  is  not  so  good  a  way  as  the  other,  for  the  State 
has  often  to  accept  much  chaff  in  order  to  get  a  little  good 
meal;  whereas,  at  a  public  auction,  it  can  generally  choose 
what  it  really  wants. 

"  The  time  seems  to  have  come  here  with  us,  when  we 
should  begin  to  combine  our  hitherto  scattered  forces,  and 
put  our  riches  into  a  common  purse,  if  we  would  make 
any  headway  in  our  art  studies.  We  have  shown  else- 
where how  the  Numismatic  Society  has  grown,  from  small 
beginnings,  to  be  of  some  importance,  by  adopting  a  com- 
mon-sense policy:  not  wasting  its  money  on  a  building, 
on  furniture,  or  on  any  eye-catching  devices,  but  giving  its 
whole  attention  to  the  main  business  of  developing  and 
feeding  a  love  of  coins.  And  something  of  the  same  sort 
is  doing  by  the  Grolier  Club;  only,  as  that  is  a  society  with 
a  less  serious  and  more  ornamental  aim  than  the  other,  it 
has  naturally  not  been  satisfied  to  accept  such  plain  fare. 
Yet,  it  has  done  nothing  more  than  to  make  its  rooms 
pretty  and  comfortable,  and  is  doing  its  best  to  bring  to- 
gether feverything  that  is  to  be  found  here  which  relates  to 
book-binding  and  to  bibliography.  If  it  should  make 
only  a  few  purchases  each  year  for  its  permanent  collection, 
and  add  a  few  books  to  its  library,  it  would  find  that  in 
its  case,  as  in  the  case  of  all  small  but  earnest  beginnings, 
the  growth  of  both  collection  and  library  would  soon 
astonish  the  skeptics,  who  do  not  believe  that  anything  of 
importance  can  be  accomplished  in  such  matters  without 
money  and  an  imposing  list  of  patrons." — Tl\e  Studio. 


10.       VERESTCHAGIN   ON    AMERICAN    ART. 

Verestchagin  delivered  a  lecture  at  the  American  Art 
Galleries,  and  spoke  particularly  of  the  "need  of  the 
organization  of  a  system  of  Technical  Art  Scho(3ls  through- 
out the  United  States  as  being  absolutely  indispensible  to 
the  development  of  an  American  Art,  of  which  he  denies 
the  present  existence.  The  Mac/azine  of  Art  differs  with 
the  Russian  on  this  last  point,  and  considers  that  it  is 
simply  wonderful  how  well  American  artists  have  done 
during  the  last  fifteen  years,  in  view  of  the  many  dis- 
advantages, under  which  they  have  labored. 

"  On  the  question  of  Technical  Art  Schools  the  Maga- 
zine of  Art  and  Verestchagin  are  at  one.  The  subject  has 
been  frequently  handled  in  these  pages  and  it  cannot  be 
too  often  discussed.  The  intellectual  salvation  of  this 
country  must  be  worked  out  through  the  education  of  the 
niiisses  in  art.  Too  much  crude  book  knowledge,  of  a 
kind  that  breeds  '  maggots  i'  the  brain,'  has  been  the  bane 
of  the  American  people. 

"  It  behooves  the  next  generation  to  soften  down  the 
harsh  outlines  of  '  intelligence '  by  the  influence  of  art 
knowledge  applied  to  the  ends  of  daily  life  as  a  prepara- 
tion for  the  state  of  high  creativeness  which  marks  the 
progress  of  art  of  an  entire  nation." — Magazine  of  Art. 

Verestchagin  has  willed,  that  after  his  death  all  his 
paintings  shall  be  gathered  into  a  permanent  exhibition  in 
his  native  city,  Novgorod,  to  he  calletl  the  "Verestchagin 
Museum  and  Studio." 

11.      THE    CERAMIC   ART   AND    MUSEUMS. 

"  Increased  education  in  the  Fine  Arts  will  produce 
the  result  of  a  discerning  public  opinion,  and  a  craving 
for  the  good  and  beautiful,  and  that  in  proportion  to  the 
demand  of  the  many  for  good  art  will  be  the  response  of  the 
chosen  minority  gifted  with  the  divine  powers  of  genius." 
— The  Portfolio. 

"  It  is  certainly  not  the  fault  of  the  American  artist,  or 
the  English  artist  in  America,  that  he  becomes  exhausted, 
and  fertility  of  ideas  yields  to  sterility,  when  there  is  noth- 
ing in  the  heaven  above  or  the  earth  below  to  show  him 
what  has  been  done  in  pottery.  This  is  the  plain,  simple 
truth,  obvious  to  comprehend,  and  simple  enough  to  lead 
one  to  conclude  that  the  main  chances  of  rising  artists  in 
the  ceramic  line  lies  in  the  foundation  of  museums  of  art. 
There  are  doubtless  capable  brains,  but  they  are  without 
impressions,  such  as  the  art  workers  of  Europe  receive  at 
the  many  museums  of  art  that  are  erected  and  filled  for 
their  use  and  edification.  It  is  very  plain  to  be  seen  that 
the  artist  of  the  European  workshop  has  refreshed  himself 
at  the  Louvre,  the  Vatican,  or  South  Kensington.  If  he 
were  here,  he  would  starve  mentally,  as  do  those  who 
fight  against  fate  in  attempting  to  bring  out  something 
original.  As  yet,  America  is  like  a  desert  to  the  model- 
er."— Patterns  Gazette. 


XVlll 


C.  HENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


12.       AN    ART    UNIVERSITY    FOR   AMERICA. 

''  We  want  an  art  university  in  which  the  purely  tech- 
nical facility  of  hand  and  eye,  which  must  be  attained  in 
youth,  and  generally  in  extreme  youth,  as  in  music,  is 
cared  for  as  the  specialty  of  the  course;  where  the  intel- 
lectual enlargement  shall  be  never  lost  sight  of;  where  the 
theory  of  art,  its  science,  its  history,  all  that  is  known  of 
its  spirit  and  manipulation,  must  be  carefully  studied  and 
appropriated,  and  at  the  same  time  the  general  influence 
of  the  literary  life  in  its  subjective  aspect  —  philosophy, 
poetry,  history,  all  that  widens  and  deepens  the  character 
and  gives  it  dignity  and  that  purpose  which  is  one  of  the 
most  important  elements  of  morality.  The  deeper  in  the 
character  art  is  rooted,  and  the  wider  the  range  of  its  roots 
in  their  reach  for  sustenance  and  support,  the  greater  and 
more  durable  its  fruits." — W.  J.  Stillman,  in  the  Century. 

13.      THE    PRESENT    AGITATION    FOR   THE   ESTABLISHMENT   OF 
A   NATIONAL   SCHOOL   OF   ART. 

"  In  a  lengthy  letter  to  the  New  York  Mail  and  E.vpress 
Wilson  MacDonald,  the  sculptor,  sets  forth  his  heart's 
scheme  for  the  establishment  at  Washington  of  a  National 
School  of  Art.  Fifteen  years  ago,  the  veteran  artist 
brought  his  plans  to  the  attention  of  Congress  in  a  petition, 
but  nothing  came  in  the  sliape  of  legislation  to  that  end. 
His  suggestions,  in  their  way,  are  as  broad  and  compre- 
hensive, and  no  less  important,  than  President  Andrew  D. 
White's  recent  article  in  favor  of  a  National  University  in 
the  Capitol  City.  The  Parent  Palette  Club,  of  New  York, 
has  the  matter  in  hand,  and  under  its  auspices  the  project 
will  be  brought  to  the  attention  of  artists,  art  schools, 
educational  institutions,  the  press,  pulpit  and  bar  through- 
out the  country.  All  great  movements,  such  as  this  needs 
be,  are  of  slow  growth,  but  in  the  steadiness  of  its  growth 
will  come  the  solidarity  and  unity  of  purpose  necessary  to 
give  it  a  national  character.  Briefly  outlined,  the  scheme 
is  to  have  the  Government  erect  a  building  for  the  academy 


and  gallery,  with  accommodations  for  2,500  students,  with 
all  the  accessories  needed  to  make  it  the  first  school  in 
the  world.  The  fitness  of  Washington  is  so  eminent  that 
no  opposition  can  be  manifested.  The  best  teachers  in 
art  must  be  employed,  and  the  establishment  of  a  new 
department  of  fine  arts  would  be  a  natural  sequence  to  the 
establishment  of  the  school.  Appointments  would  be 
made  to  the  school  as  cadets  are  now  to  West  Point  and 
Annapolis,  subject  to  examination  as  to  aptitude  and 
ability.  The  public  schools  in  which  drawing  is  taught 
will  be  found  prolific  sources  from  which  embryo  artists 
and  sculptors  will  arise.  The  grand  idea  which  lies 
beneath  the  project  is  the  development  of  a  National 
spirit  of  art.  No  nation,  Mr.  Mac  Donald  argues,  has 
ever  attained  high  rank  in  art  which  has  not  developed 
such  a  spirit.  Surely  America,  with  its  vast  extent  of 
country,  its  magnificent  scenery,  its  varieties  of  fauna  and 
flora,  its  unlimited  resources,  the  peculiar  tj-pes  of  civiliza- 
tion which  it  produces,  is  capable  of  doing  that.  Another 
point  is  brought  out  clearly  in  the  argument,  and  that  is  that 
our  enormous  material  sources  of  wealth  have  been  in  no 
small  degree  dependent  on  the  art  spirit  for  development. 
It  is  not  many  years  since  nearly  every  article  of  virtu, 
beauty,  and  ornament  was  imported  from  Europe;  now 
our  fine  furniture,  clocks,  mantel  ornaments,  wall  j^apers, 
engravings,  bric-a-brac,  and  fabrics  are  produced  at  home. 
If  a  national  spirit  and  direction  lie  given,  the  great  results 
already  readied,  will  lie  followed  by  still  greater  ones,  all 
tending  to  the  mental  and  material  enrichment  of  America. 
This  is  not  the  jiroject  of  a  day.  Aladdin's  lamps  are  not 
the  gifts  of  the  Republic.  Out  of  the  friction  of  many 
minds  comes  our  development  toward  the  future  greatness 
which  will  tower  as  a  mountain  over  the  mole-hill  progress 
of  to-day.  Following  fast  upon  the  accretions  of  material 
wealth,  will  come  with  its  more  equitable  distril)ution,  the 
knowledge  which  will  teach  us  how  to  enjoy  that  wealth. 
And  art  will  line  the  avenue  which  science  has  built  for 
man." — Wushinyton  Post. 


BY    CHAS.    F.    ZIMMERMANN,    LATE    SUPERINTENDENT   OF    DRAWING,    MILWAUKEE    PUBLIC   SCHOOLS. 


UR  foremost  eclucators  advocate  the  study  of  draw- 
ing as  the  first  step  in  any  system  of  industrial 
education,   and   thousands   of  teachers  are  now 
_^  taught  so  as  to  enal)le  them  to  give  the  required 

J  \        instruction  in  drawing  in  their  schools;  but  how 
many   have   made  this  instruction  of  service  to 
them  in  their  classes  when  teaching  other  subjects? 
It  must  become  a   habit  with  our  teachers  to 
observe     everything    accurately,     record     their 
observations,  engrave  the  picture  upon  the  mind,  and  in 
this  way  gain  the  power  of  recalling  it  when  needed  in  the 
class  room. 

As  teachers  we   should   learn   all   those   principles   of 
general  knowledge,  in  the  sciences  and  in  the   arts,    for 
which   the   practice  of  drawing  is  necessary,  in  order  to 
make  plain  to  the  public  the  usefulness  of  this  form  of 
language       It  is  a  means  by  which  we   represent   every 
object  in  nature  as  well   as  in  art,  ttom  the  simple  leaf, 
pebble,   rock,   tree,   to   the   animal   form,   landscape    and 
liuman  figure;  from  the  simplest  ornament  to  the  statue  or 
grandest    architectural    conception;     from     the    simplest 
mechanical  device  to  the  most  complicated  and  powerful 
machinery  of  the  present.      Violet  le  Due  says:  "  I  hardly 
know  of  a  career  in  which  drawing  would  not  be  useful,  if 
not  aljsolutely  necessary,  for  the  very  simple  reason  that  it 
teaches  one  to  see  correctly,  to  remember  what  one  has 
seen,  and  to  give  form  to  thought." 

Herbert  Spencer  writes:  "The  spreading  recognition  of 
drawing  as  an  element  of  education,  is  one  amongst  many 
signs  of  the  more  rational  views  on  mental  culture  now 
beginning  to   prevail.     .     .     .     .     .     Had  teachers  been 

guided  by  nature's  hints  not  only  in  making  drawing  a  part 
of  education,  but  in  the  choice  of  their  modes  of  teaching 
it,  they  would  have  done  still  better  than  they  have  done. 
.     .     .     .     From  all  that  has  been  said,  it  maj'  be  readily 

inferred  that  ive  wholly  disapprove  of  the  practice  of  draicing 
from  copies." 

2       GIVES  ACCURATE  SIGHT  AND  SURE  TOUCH. 

Philip  Gilbert  Hammerton,  fine  artist  and  critic,  sets 
forth  the  value  of  art  culture  in  the  following  plain  lan- 
guage: "  Practical  art  has  one  distinct  advantage  over  all 
purely  intellectual  pursuits,  which  is,  that  it  does  not 
educate  the  mind  only,  but  also  the  eye  and  the   hand. 


I  am  well  aware  that  a  foolish  prejudice,  which  if  it  is 
dying  out,  is  dying  too  slowly,  considers  this  training  of 
eye  and  hand  a  mark  of  degredation,  because  the  skilful 
use  of  these  physical  organs  assimilates  the  artist  to  the 
artisan.  Some  people  —but  not  the  wisest — are  as  proud 
of  having  idle  and  useless  hands  as  Chinese  ladies  are  of 
their  useless  feet.  With  these,  all  reasoning  would  be  a 
waste  of  time;  but  to  others  who  have  no  such  prejudices, 
I  may  offer  a  few  remarks  in  favor  of  this  ocular  and 
manual  education.  Let  it  not  be  supposed  that  the  edu- 
cation which  we  gain  fi-om  the  graphic  arts  is  by  any. 
means  limited,  in  its  effects,  to  the  actual  practice  of 
those  arts  themselves.  The  eye  which  is  trained  by 
drawing  discerns  form  everywhere  and  in  everything;  the 
hand  which  is  skilled  to  use  pencil  or  brush  will  be 
generally  superior  in  delicacy  and  accuracy  of  touch  to 
the  hand  which  has  never  been  taught.  The  question, 
therefore,  is  not  simply  whether  we  care  to  be  skilful  in 
drawing,  but  whether  we  prefer  a  keen  eye  to  a  compara- 
tively blind  one,  and  a  ready  hand  to  a  clumsy  one.  There 
are  a  thousand  things  to  be  done  in  ordinary  life,  as  well  as 
in  different  trades  and  professions,  in  which  accurate  sight 
and  sure  touch  are  desirable.  Surely  a  branch  of  educa- 
tion which  gives  these,  not  a«  substitutes  for  intellectual 
analysis  and  synthesis,  but  in  addition  to  them,  has  so 
much  the  more  in  its  favor." 

3.       TO  DESIGN  IS  TO  OBSERVE  AND  REFLECT. 

We  quote  once  more  from  Violet  le  Due  :  "  In  the  study 
of  drawing  there  are  two  elements,  physical  labor,  the 
exercise  of  the  eye  and  hand  ;  and  intellectual  work,  that 
is,  the  habit  of  observing  with  exactness,  and  engraving 
on  the  memory  what  one  has  observed,  so  that  the  mind 
can  compare,  and  draw  deductions  from  the  comparison. 
.  .  .  One  learns  to  see  only  by  drawing,  and  not  from 
engraved  patterns,  but  from  objects  themselves ;  and  further 
still,  only  on  condition  of  being  able  to  explain  these 
objects,  and  to  describe  their  properties,  and  their  rela- 
tions to  each  other I  do  not  claim  to  be  able  to 

make  an  artist  of  Jean,  he  will  become  one  if  he  has  it  in 
him.  I  propose  only  to  teach  him  to  see  correctly  ;  to 
consider  what  he  sees,  and  to  render  it  so  that  his  obser- 
vations may  serve  him,  whatever  the  career  he  follows, 
whether   that   of   a   workman   or  a  soldier,  merchant  or 


XX 


C.  IIENNEGKE  00.,  MILWAUKEE  AND  CHICAGO. 


lawyer,  artist  or  engineer To  design  is  not  to 

see  a  thing,  but  to  observe  it.  All  who  are  not  blind,  see  ; 
yet  how  many  people  are  there  who  know  how  to  see,  or 
who  reflect  as  they  see  ?  " 

4.      THK  GREAT  MASTERS  DREW  FROM  MEMORY. 

Taking  Ilubens  saying  that  "  To  see,  to  understand,  to 
remember,  is  to  know,"  as  her  motto,  Madame  Cave  has 
had  great  success  in  teaching  drawing  by  laying  stress 
upon  memory  drawing.  She  says  :  "  Drawing  from  memory 
is  having  one's  thoughts,  the  expression  of  that  thought, 
at  the  point  of  his  pencil  as  the  writer  has  his  at  the  tip  of 
his   pen.       All   the   great   masters   drew   from   memory  ; 

hence  their  originality Consulting,  copying, 

kills  invention  and  genius ;  composing,  putting  the 
thoughts  rapidly  upon  paper  by  the  aid  of  memory,  that 

is  the  true  process  of  invention As  soon  as  you 

see  correctly,  you  feel  correctly,  you  execute  correctly, 
.  .  .  .  If  you  follow  your  eye,  your  observation,  you 
will  secure  correctness,  you  will  find  truth,  you  will  be 
natural,  and  naturalness  is  simply  truth.  This  accuracy, 
this  naturalness,  is  the  result  of  much  observation,  of 
great  memory." 

5.       AN  INVAHTABLE  ELEMENT  IN  GENERAL  EDUCATION.- 

To  fully  impress  the  importance  of  the  subject  under 
consideration,  upon  the  American  public,  the  testimony  of 
some  of  the  leading  educators  in  this  country  is  herewith 
presented  : 

"  Drawing  is  an  invaluable  element  in  general  educa- 
tion. To  the  workman  it  is  of  the  greatest  practical  use  ; 
it  makes  him  a  more  intelligent  and  serviceable  workman. 
If  he  attains  a  real  skill  in  the  use  of  his  pencil,  and 
develops  the  tastes  and  talents  that  cannot  without  this 
training  be  either  discovered  or  made  vise  of,  he  becomes 
a  valuable  person  at  once.  Every  branch  of  our  manu- 
factures is  suffering  from  the  want  of  just  this  intelligence 
and  skill." — William  R.  Ware,  Prof,  of  Architecture,  Col- 
umbia College,  New  York  City. 

"  Drawing,  if  properly  taught,  is  extremely  useful  as  an 
aid  in  other  studies;  and  indeed,  in  my  judgment,  it  quite 
compensates  for  the  time  it  takes,  by  facilitating  instruc- 
tion in  other  branches The  introduction  of 

drawing  into  our  schools  I  regard  as  one  of  the  most  im- 
portant and  practical  educational  steps  ever  undertaken 
in  this  city,  and  there  is  no  part  of  my  work  as  an  educa- 
tor which  I  look  upon  with  more  satisfaction  than  upon 
my  efforts  to  secure  efficient  instruction  in  drawing  in  the 
public  schools  of  this  city  and  State." — Dr.  John  D. 
Philbrick,  Boston. 

"  I  am  satisfied  that  a  knowledge  of  forms,  which  is  an 
important  element  in  all  industrial  education,  can  only  be 
learned  by  the  study  of  drawing,  which  should  be  taught 


in  all  our  public  schools  by  competent  teachers  ;  the  time 
required  to  lay  the  proper  foundation  for  future  special 
applications  need  not  be  disproportionate  to  other 
studies." — Dr.  J.  D.  Rankle,  Mass.  Institute  of  Technology, 
Bostmi. 

"  I  regard  the  study  of  Industrial  Drawing  as  absolutely 
essential,  not  only  to  sound  technical  education,  but  as  of 
the  utmost  importance  to  the  industrial  interest  of  our 
country,  and  have  urged  a  wider  attention  to  it,  both  upon 
our  schoolmen  and  our  legislatures.  It  is  gratifying  to 
know  that  the  public  mind  is  already  awaking  so  widely 
to  the  importance  of  the  training  to  l)e  derived  from 
studies  in  drawing." — Dr.  J.  M.  Gregory,  late  President  III. 
State  University. 

6.       ARTIST  AND  ARTIS.VN  BROUGHT  TOGETHER  ON 
COMMON  GROUND. 

"  I  cannot  refrain  from  expressing  my  conviction  as  to 
the  immense  importance  of  this  whole  movement  of  art 
education  to  the  industrial  interest  and  social  well-being 
of  this  country.  We  are  constantly  told  that  art  belongs 
to  the  refinements  of  civilization,  and  that  therefore  it  has 
no  place  in  the  schools,  where  the  great  mass  of  men  and 
women  who  must  ever  remain  strangers  to  its  enjoyments 
are  educated.  That  so  large  a  share  of  the  people  are 
deprived  of  the  elevating  influence  of  a'sthetic  feeling,  is 
the  very  strongest  reason  why  the  schools  where  they  are 
to  receive  their  intellectual  training  should  lie  made  avail- 
able to  bestow  upon  them  a  possession  capable  of  yielding 
so  much  real  benefit  to  themselves,  and  of  so  much  conse- 
quence to  the  society  of  Avhich  they  form  a  part.  But  art 
has  other  uses  than  to  minister  to  cultivated  tastes  in 
sculpture  and  painting.  One  of  the  noblest  purposes  to 
which  it  can  be  put  is  in  applying  the  laws  of  ornament  to 
the  productions  of  industry.  It  is  here  that  art  becomes 
universal  in  its  influences  ;  it  is  here  that  the  artist  and 
the  artisan  are  brought  together  on  common  ground,  and 
the  taste  of  the  studio  is  joined  to  the  skill  of  the  workshop 
in  ministering  to  the  common  wants  of  men  of  all  classes. 
There  is  no  class  of  our  people  so  deeply  concerned  in 
making  this  matter  of  art  a  part  of  our  commonest  educa- 
tion, as  the  men  whose  toil  lies  at  the  foundation  of  our 
industrial  wealth.  It  is  simply  a  question  whether  our 
workmen  are  to  be  left  to  handle  the  materials  of  industry 
in  their  crudest  condition,  or  whether  they  are  to  be  trans- 
formed, by  education,  into  creative  forces,  capable  of 
giving  to  the  wood  and  iron,  and  stone,  which  pass  through 
their  hands,  forms  of  beauty  which  shall  lend  assistance 
to  their  use  ;  and  tlius,  while  enriching  and  improving 
the  whole  circle  of  society,  be  rendering  themselves  worthy 
of  recognition  as  one  of  its  noblest  factors. 

"  I  believe  the  introduction  of  Industrial  Drawing  into 
our  common  schools  to  be  the  first  step  in  the  organiza- 


DBA  WmQ. 


XXI 


tion  of  a  system  of  industrial  education  which,  if  fully 
caiTied  out,  will  be  productive  of  effects  upon  tlie  social 
cliaracter  of  the  working  classes  and  the  wealtli  of  the 
nation,  which  even  the  most  sanguine  would  not  dare  at 
this  moment  to  predict." — James  MacAliste)',  Supt.  of 
Public  Schools,  Philadelphia. 

7.      ECONOMY  OF  LABOR  IN  THE  WORKSHOP. 

"  Among  the  many  ways  in  which  art  knowledge  ma}' 
he  of  use  in  the  workshop,  is  the  economy  of  hibor  arising 
from  the  workman  having  definite  objects  in  view,  and 
having  to  make  no  experiments  in  carrying  out  work 
which  must  be  executed  to  scale,  plan  and  design.  I  ven- 
ture to  say,  that  in  every  workshop  or  factory  where  no 
knowledge  of  drawing  is  possessed  by  the  workmen,  there 
is  a  waste  of  time  and  an  inferior  article  produced  in  the 
end — evils  which  are  a  loss  to  the  employer,  through  sacri- 
ficing of  his  material  and  inferiority  of  work ;  a  loss 
to  the  workman,  by  his  time  having  been  wasted  in  experi- 
ments ;  and  a  loss  to  the  public  of  tasteful  objects  to  be 
obtained  at  a  moderate  cost." — Walter  Smith. 

8.  DRAWING  IN  BELGIUM  BASED  UPON  SCIENTIFIC  PRINCIPLES. 

M.  de  Lajolais,  a  member  of  the  Industrial  Congress 
gathered  at  Brussels  in  1868,  says  :  "  Instruction  should 
be  given  at  first  to  children,  in  knowledge  of  form,  then 
they  should  be  accustomed  to  the  habit  of  following  and 
understanding  the  transformation  of  exact  forms  into 
ornamentation.  The  study  of  drawing,  in  the  first  in- 
stance, develops  the  intelligence  of  the  child  in  teaching 
him  how  to  see.  To  see  with  the  eye  of  a  designer  is  to 
create  the  sense  of  exact  observation  and  of  analysis  ;  and 
these  results  can  be  attained  by  a  series  of  attractive 
exercises."  This  Congress  further  recommends  "  the 
necessity  for  the  radical  reorganization  of  the  elementary 
teaching  of  the  fine  arts  by  the  substitution,  for  the  routine 
methods  in  use,  of  a  uniform  and  rational  mode,  based 
upon  scientific  principles,  which  are  the  essence  of  art 
itself;  to  si(ppir,'>.'^  the  aumiwn  pTiatx  and  engraving.^  now  used 
as  models;  to  base  the  study  of  drawing  upon  the  elemen- 
tary principles  of  geometry."  In  1871  tlie  Minister  of  the 
Interior,  in  his  circular  letter  to  the  provincial  inspectors 
of  primary  instruction,  declares  :  "  The  government,  in 
the  task  it  has  undertaken,  counts  upon  the  concurrence 
and  sui)port  of  the  communes  and  provinces.  It  is  a 
question  of  national  interest,  since  its  principal  object  is 
the  progress  and  the  development  of  the  artistic  sentiment 
of  the  country." 

9.  DRAWING  AND   INDUSTRIAL   SCHOOLS  THE  TRUE    BASIS  OF 

WEALTH  OF  A  NATION. 

Immediately  after  the  war  with  France,  the  authorities 
of  the  various  industrial  towns  of  Prussia  were  called  upon, 
in  a  circular  issued  by  the  Ministry  of  Commerce  and  In- 


dustry, to  follow  the  example  of  France  in  the  organization 
of  Drawing  and  Industrial  schools ;  and  their  attention 
was  directed  to  the  industrial  importance  of  these  schools, 
and  to  the  fact  that  they  form  the  true  ba.sis  of  the  wealth 
of  France. 

The  French  Commission  which  was  appointed  to  ex- 
amine matters  pertaining  to  the  improvement  of  the  indus- 
tries of  France,  in  the  year  186-3,  reports  as  follows  : 
"Among  all  the  branches  of  instruction  which,  in  different 
degi-ees,  fi-om  the  highest  to  the  lowest  grades,  can  contri- 
bute to  the  technical  education  of  either  sex,  drawing  in 
all  its  forms  and  applications,  has  been  unanimously  re- 
garded as  the  one  it  is  most  important  to  make  common." 
And  the  opinion  of  the  French  Commission  in  1876  was 
that  "  France  ought  to  devote  herself  to  the  study  of  draw- 
ing and  reinvigorate  her  productive  powers  at  the  very 
sources  of  art." 

10.       ELEMENTARY  SCIENCE  AND  DRAWING  FOR  THE 
WORKMAN  AND  ARTISAN. 

The  late  report  of  the  royal  (English)  Commissioners 
on  Technical  Instruction  contains  the  following: — 

"  For  the  great  mass  of  our  working  population  who 
must  necessarily  begin  to  earn  their  livelihood  at  an  early 
age  and  fi-om  whom  our  foremen  will  be  mostly  selected,  it 
is  essential  that  instruction  in  the  rudiments  of  sciences 
bearing  upon  industry  should  form  a  part  of  the  curri- 
culum of  the  elementary  schools,  and  that  instruction  in 
drawing  of  a  character  likely  to  be  useful  in  their  future 
occupations  as  workmen  and  artisans  should  receive  far 
greater  attention  than  it  does  at  present 

"This  want  of  attention,  together  with  the  absence  of 
competent  teachers,  proper  modds  and  methods,  and  adequate 
inspection,  fully  accounts  for  the  inferiority  to  which  we 
have  referred.  .  .  .  Your  commissioners  are  of  the 
opinion  that  sound  instruction  in  the  rudiments  of  dratving 
should  be  incorporated  with  writing  in  all  primary  schools 
both  for  girls  and  boys 

"  Assuming  such  preparation  in  the  infant  and  element- 
ary schools  as  we  have  here  sifggested,  the  progress  of  sub- 
sequent instruction  in  art  classes  would  be  innneasurably 
more  rapid  ....  Industrial  design,  for  a  variety 
of  reasons,  tlie  chief  of  which  are  the  tvnnt  of  .sufficient 
knowledge  of  nwnufactures  on  the  part  of  art  teachers  and  the 
absence  of  sympathy  evinced  by  the  proprietors  of  indus- 
trial works,  has,  with  some  notable  exceptions,  not  received 
sufficient  attention  in  our  art  schools  and  classes.  In  fact, 
there  has  been  a  great  departure  in  this  respect  from  the 
intention  with  which  the  '  schools  of  design '  were  orig- 
inally founded,  viz., '  the  practical  application  of  (a  knowl- 
edge of)  ornamental  art  to  the  improvement  of  manu- 
factures.' Large  grants  of  public  money  for  teaching  art 
to  artisans  in  such  classes  can  scarcely  be  justified  on  any 
other  ground  than  its  industrial  utility." 


C.  HENNECKE  CO.,  MILWAUKEE  AND  OHIO  AGO. 


11.  DRAWING  MORE  NECESSARY  THAN  HEADING  OR  WRITING. 

Since  the  report  of  the  committee  on  Technical  Educa- 
tion, drawing  has  been  incorporated  in  the  code,  and  is 
now  a  compulsory  subject  in  the  elementary  schools  of 
Great  Britain.  Commenting  thereon,  Mr.  Harry  V.  Bar- 
nett,  in  The  Magazine  of  Art,  writes  thus : — 

"It  is  now  generally  agreed  that  the  systematic  and 
compulsory  teaching  of  drawing  to  young  children  is  a 
very  beneficial  part  of  their  i)reparation  for  the  practical 
work  of  life.  If,  having  learned  at  school  to  describe 
things  with  a  pencil,  they  afterwards  enter  those  trades  in 
which  a  knowledge  of  drawing  is  necessary,  they  find 
their  initial  difficulties  very  much  lightened,  they  are 
ready  to  begin  practical  work  at  once,  instead  of  having  to 
learn  the  ABC.  And  if,  on  the  other  hand,  the  business 
they  take  up  does  not  demand  a  knowledge  of  drawing, 
then,  it  is  argued,  they  have  lost  nothing  by  being  taught 
it,  because  it  is,  apart  from  its  special  utility  in  various 
handicrafts,  a  good  general  training  for  the  mind:  you 
cannot  draw  even  a  very  little  without  observing  and 
thinking,  for  which,  I  believe,  no  one  is  ever  the  worse. 
Many  people  seem  to  suppose  that  the  chief  object  of 
teaching  drawing  to  children  is  to  make  them  great  artists. 
This  is  a  fine  old  crusted  British  superstition,  handed 
down  from  days  of  dismal  ignorance  and  vague  ambition. 
It  would  be  just  as  reasonable  to  suppose  that  the  chief 
object  we  have  in  teaching  everybody  to  read  and  write  is 
to  make  everybody  a  man  of  letters.  Drawing  is  in  this 
sense  one  of  the  things  which  it  is  useful  to  be  able  to 
practice,  and  is  in  some  trades  a  part  of  elementary 
knowledge  even  more  necessary  than  reading  or  writing. 

12.  SHOULD    BE  COMPULSORY  IN  ALL  ELEMENTARY  SCHOOLS. 

"  One  of  the  main  points  brought  out  by  the  Technical 
Commission,  is  that  the  nations  of  the  continent  under- 
stood all  this  sooner  and  better  than  we  did,  and  in  many 
instances  incorporated  drawing  with  writing  as  a  compul- 
sory subject  in  their  elementary  schools.  Every  one  who 
studies  the  question  at  all,  or  who  does  nothing  more  than 
read  the  report  of  the  Commission,  finds  overwhelming 
evidence  that  the  effects  of  this  system  are  wonderfully 
beneficial,  both  in  laying  the  foundation  of  the  higher  and 
special  art  training  that  a  youth  may  eventually  receive, 
and  in  perfecting  all  those  handicrafts  and  industries  into 
which  drawing,  and  all  that  drawing  embodies,  enter  more 
or  less.  And  since  the  tendency  of  trade  is  more  and 
more  towards  competition  on  lines  of  artistic  and  techni- 
cal excellence,  and  since  we  have  already  lost  important 
industries  by  reason  of  our  backwardness  in  these  particu- 
lars, the  Commission,  seeing  wliat  was  done  abroad  and 
what  was  wanted  here,  recommended  that  drawing  should 
be  made  compulsory  in  all  elementary  schools  ;  and  the 
educational  authorities,  after  hesitating  for  awhile,  have 


carried  this  recommendation  into  effect."  Speaking  of 
the  kind  of  drawing  most  necessary  to  be  taught,  the 
writer  proceeds  :  "  It  is  better  to  make  free-hand  the  basis 
of  the  other  kinds  of  drawing,  than  to  make  them,  or  any 
one  of  them,  the  basis  of  free-hand.  And  it  is  certain  that 
free-hand  is  the  most  generally  useful  in  itself,  and  the 
best  of  all,  considered  as  a  means  to  train  hand  and  eye 
and  mind." 

13.       LARGE  SCALE  WORK  BEST, 

Speaking  of  cfrawing  with  sharp  lead  pencils  on  small 
pieces  of  paper, so  much  in  vogue,  Mr.  Barnett  proceeds: — 

"  And  just  because  it  is  always  on  a  small  scale,  it  is 
destructive  of  the  two  most  necessary  qualities  :  strength 
and  style,  it  leads  the  pupil  to  be  forever  thinking  of  fin- 
nicking  details  and  hardly  ever  of  mass  and  proportion 
and  breath,  and  so  train  him  insensibly  but  surely  to  see 
large  things  in  a  small  way;  to  take  narrow  views  and  ex- 
press them  in  a  laboriously  little  manner.  The  conse- 
quence is,  of  course,  that,  even  when  a  youth  has  gained 
some  command  of  means,  as  it  is  not  denied  he  may  do 
by  this  method,  when  he  comes  to  make  full-sized  draw- 
ings of  furniture,  of  decorative  design  for  wall-papers  or 
textiles,  of  architectural  ornament,  of  ironwork,  in  short, 
of  anything  whatever  that  is  to  be  practically  manipulated, 
he  finds  that  he  has  to  begin  again,  almost  from  the  be- 
ginning; that  what  will  suffice  for  Christmas  cards  is  use- 
less in  matters  more  substantial ;  that  to  have  learned  to 
draw  on  a  small  scale  does  not  enable  him  to  draw  on  a 
large.  It  is,  however,  the  large  scale  work  that  is  wanted 
in  the  workshops  and  manufactories,  as  well  as  in  the 
studios  ;  and,  what  is  everywhere  evident  in  English  art, 
the  qualities  of  handling  and  of  mind  that  are  thus  pro- 
duced by  training  on  a  large-scale  system  are  more  needed 
still.  They  do  these  things  better  abroad;  and  of  course 
we  find  in  France  and  Belgium  that  instead  of  training  a 
lad  to  draw  with  a  lead-pencil  on  a  piece  of  paper  meas- 
ured by  inches,  they  first  give  him  a  good  lump  of  chalk 
and  a  blackboard  measured  by  feet.  The  child,  in  short, 
begins  by  learning  to  reproduce  lines,  and  arrangements 
of  lines,  on  the  largest  scale  possible  to  his  youthful  arm. 
When  he  has  got  his  hand  in  with  chalk  and  a  blackboard 
he  is  advanced  to  charcoal  and  a  large  sheet  of  brown 
paper;  and  so  on  until  he  enters  the  workshop  or  the  art 
school.  Here,  of  course  the  system  is  directly  the  reverse 
of  ours,  and  the  consequence  is  that  Continental  boys  of 
twelve  or  thirteen  can  produce  large-scale  drawings  fi-om 
either  fiat  or  round  that,  I  do  not  hesitate  to  say,  could 
not  be  ecjualled  by  any  art  student  in  England  of  twice 
the  age  and  training,  excepting  always  those  who  have 
been  specially  trained  in  manufactories  and  workshops, 
and  the  pupils  who  have  the  luck  to  work  under  Mr.  Legros, 
at  University  College,  where  the  antiquated  illogical  British 
system  does  not  obtain.     This  is  no  mere  opinion  of  my 


DBA  WING. 


XXUl 


own,  but  a  fact  brought  out  with  signal  empliasis  in  the 
report  of  the  commission,  and  strii<ingly  illustrated  by  the 
drawings  that  were  so  remarkable  a  feature  of  the  Health 
Exhil)ition.  There  France  and  Belgium  were  represented 
by  a  varied  series  of  drawings,  executed  in  elementary 
schools  which  put  the  exhibit  of  the  English  government 
art  schools  entirely  in  the  shade.  South  Kensington  had 
not  a  solitary  work  of  the  same  class  that,  as  regards  all 
essential  qualities  of  art,  and  least  of  all  as  regards  style, 
could  compare  with  those  drawings  by  foreign  lads.  To 
go  round  the  Exhibition  with  ones  eyes  open  was  to  see 
that  the  superiority  of  Continental  design  and  art  manu- 
factures over  our  own  is  largely  due  to  the  sound  and 
liberal  kind  of  free-hand  that  is  taught  as  part  and  parcel 
of  general  education  in  the  Continental  primary  schools." 

14.  GIVES  A  BROAD,  GKXERAL  TRAINING  FOR  LIFE. 

"  The  discovery  and  application  of  thought  as  em- 
bodied in  things  will  answer  as  a  broad  foundation  for 
manual  training,  and  the  best  study  adai)ted  to  these  ends 
is  what  is  properly  known  as  iaduMritd  dntwing.  For  this 
study  not  only  gives  a  general  training  applicable  to  a 
great  variety  of  pursuits,  but  is  of  the  greatest  value  in 
developing  every  common  school  study  at  all  related  to 
form.  Not  only  does  it  develop  purely  utilitarian  ideas 
but  also  cultivates  an  appreciation  and  love  of  the  beauti- 
ful in  nature  and  art.  Its  development  is  in  the  direction 
of  usefulness,  beauty  and  morality.  It  gives  opportunity 
for  development  in  every  desirable  direction.  It  leads  to 
the  observation  of  things  and  to  their  expression  by 
language,  drawing,  and  construction.  It  stimulates  the 
inventive  faculty.  It  cultivates  a  knowledge  of  design, 
and  in  brief,  gives  a  broad,  general  training  to  all  boys,  to 
all  girls,  in  preparing  them  for  every  sphere  of  life." — 
Prof.  Charles  M.  Carter,  Mass.  Art  School,  Boston. 

15.  FROM  A  LOW  PLANE  TO  LUCRATIVE  POSITIONS. 

"  Having  had  the  direction  of  two  of  the  largest 
schools  of  this  description  (evening  schools  for  industrial 
drawing)  in  Boston,  from  their  beginning  to  the  present 
time,  covering  a  period  of  seventeen  years,  I  can  speak 
with  some  authority  regarding  them,  and  can  testify 
to  the  wonderful  benefits  which  the  pupils  have  received. 
Hundreds  of  them  have  been  helped  to  a  higher  plane  in 
their  craft  by  means  of  the  instruction  afforded.  In  fact, 
it  may  be  truly  said  that  the  industrial  drawing  schools 
have  a  very  important  influence  upon  the  industries  of 
the  State.  Many  of  the  pupils  are  now  employed  in  the 
designing  rooms  of  the  mills,  and  many  others  are  filling 
excellent  positions  where  a  knowledge  of  drawing  is  abso- 
lutely necessary.  In  these  schools  almost  every  nation- 
ality and  every  trade  are  represented  by  the  pupils  who 
attend  them.     There  are  hundreds  of  young   men    who 


have  attended  these  schools  who  at  one  time  were  on  the 
lowest  plane  in  their  trade,  and  would  have  remained 
there  had  it  not  been  for  the  knowledge  thus  ()l)tained  ; 
but  to-day  they  are  filling  some  of  the  highest  and  most 
lucrative  positions." — Prof.  George  11.  Barllett,  Principal 
Normal  Art  School,  Boston,  Mass. 

16.       A  UNIVERSAL    LANGUAGE    THAT   SHOULD    HE    READ  AND 
UNDERSTOOD  HY  ALL  MEN. 

"  Drawing  is  tlie  short-hand  language  of  modern  science. 
Careful  drawings  are  to  technically  educated  people  what 
pictures  are  to  children.  They  show  at  a  glance  what  it 
is  not  in  the  power  of  words  to  express.  It  is  a  universal 
language,  and  should  be  read  and  understood  of  all  men. 
But  drawing  has  another  use  of  equal  value.  It  is  the 
most  potent  means  for  developing  the  j^erceptive  faculties, 
teaching  the  student  to  see  correctly,  and  to  understand 
what  he  sees.  Drawing,  if  well  taught,  is  the  constant 
practice  of  the  analysis  of  forms,  and  by  this  practice  the 
eye  is  quickened  and  rendered  incomparably  more  accurate; 
and  as  the  eye  is  the  most  open  and  ready  road  through 
which  knowledge  passes  to  the  mind,  the  full  develop- 
ment of  its  powers  can  be  a  matter  of  no  small  importance 
to  all.  In  this  respect,  then,  as  an  educator  of  the  eye, 
drawing  is  a  most  valuable  means,  irrespective  of  any  serv- 
ice that  the  power  may  be  of  itself  But  there  is  another 
faculty  engaged  in  this  study,— that  one  which  distin- 
guishes man  from  the  cleverest  of  the  animals, — the  hand 
is  employed,  and  it  also  is  educated  and  trained  to  be  more 
completely  under  the  control  of  the  will  than  by  any  other 
exercise  it  can  be  set  to;  it  acquires  a  delicacy  of  move- 
ment and  a  refinement  of  power  which  no  other  discipline 
can  impart,  and  which  fits  it  more  completely  to  perform 
its  varied  and  delicate  functions."— Dr.  C.  M.  Woodward, 
St.  Louis. 

17.      WE  MUST  ORGANIZE  SCHOOLS  FOR  SYSTEMATIC 
.\RT  INSTRUCTION. 

The  place  of  art  education  in  any  school  system  is  fully 
set  forth  in  the  foregoing  pages,  and  there  need  henceforth 
be  no  question  in  the  minds  of  the  intelligent  people  of 
our  country  as  to  the  course  to  be  pursued  with  reference 
to  this  subject.  We  must  profit  by  the  experience  of 
European  nations.  "  The  spirit  of  the  times  carries  every- 
thing along,  and  those  who  would  stand  still  must  go  to 
the  rear."  If  England,  France,  Belgium,  Germany,  and 
Austria,  who  have  for  years  been  making  great  efforts  to 
raise  the  intelligence  of  the  industrial  classes  by  establish- 
ing art  and  technological  schools,  iirt  museums,  lecture 
courses  on  science  and  art,  evening  and  training  schools, 
and  by  making  drawing  and  modeling  a  part  of  the  public 
school  education,  find  it  necessary,  nevertheless,  to  re-or- 
ganize their  systems  of  education,  so   as   to   lay  greater 


C.  HENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


stress  upon  industrial  drawing,  devise  better  schemes 
for  general  instruction  in  art,  and  want  better  teachers 
and  appliances  for  teaching  drawing  in  the  schools,  how 
mucli  more  have  we  need  of  all  these  things ! 

18.       NORMAL   INSTRUCTION. 

Some  of  the  directors  of  our  Normal  Schools  have  not  yet 
fully  comprehended  the  necessity  of  training  their  students 
in  this  direction.  Neither  has  the  subject  of  art  education 
received  much  attention  in  teachers'  institutes,  or  conven- 
tions. Our  leading  educators  everywhere  urge  its  impor- 
tance, but  opportunities  for  the  teachers  to  thoroughly  fit 
themselves  for  their  work  are  not  provided  in  most  of  our 
communities,  nor  are  appliances  for  successful  teaching 
at  hand. 

19.      ART    CI.UBS. 

We  would  therefore  ui-ge  upon  teachers  to  help  them- 
selves by  forming  art-clubs  for  the  study  of  drawing, 
modeling  and  wood-carving.  By  regular  small  contribu- 
tions, simple  appliances,  models  and  casts  could  be  secured 
and  art  books  purchased.  Information  as  to  organization 
and  order  of  work  can  be  obtained  by  correspondence  with 
teachers  and  artists  in  sympathy  with  this  movement,  and 
some  models  in  wood  and  iron  secured  by  gift  from 
manufiicturing  establishments.  The  advice  and  help  of  a 
good  teacher  is  certainly  a  great  aid  in  prosecuting  the 
study,  but  it  cannot  always  be  had,  and  many  instructors 
lack  the  patience  necessary  to  teach  the  elements.  The 
effort  once  made  should  not  be  abandoned.  The  members 
of  the  club  should  make  themselves  familiar  with  the  in- 
dustries in  which  artistic  skill  is  required.  In  no  better 
way  can  they  learn  to  value  skill  than  by  Ijecoming  pupils 
themselves  in  some  manual  or  artistic  work.  Did  not  the 
great  masters  in  pedagogy  organize  departments  in  their 
seminaries  where  skilful  manual  labor  could  be  practiced, 
and  are  not  institutes  held  in  Germany  at  the  present  day 
to  which  teachers  repair  to  pursue  the  six  weeks  course  in 
manual  training?  Even  professors  do  not  disdain  to  take 
their  place  at  the  bench — -an  example  not  unworthy  of  our 
imitation.  Some  of  our  most  noted  artists  are  equally 
skilful  with  tool  and  brush. 


20. 


EXAMPLES   FOR   STUDY. 


We  must  have  trained  teachers  first,  but  good  examples 
for  study  are  indispensable  if  we  are  to  lay  a  sure  and 
broad  foundation  in  art.  The  foremost  educators,  sec- 
onded by  their  respective  governments  in  Belgium,  France, 
England  and  Germany,  emphasize  the  value  of  drawing 
from  nature  and  from  the  best  examples  of  ancient  and 
modern  art,  discarding  the  drawing  from  the  flat.  The 
copying  of  unmeaning  forms  is  a  waste  of  time  and 
deadens  the  interest  in  the  study  of  art.     But  lead  our 


youth  to  appreciate  the  beautiful  in  nature  and  in  art, 
and  you  kindle  an  enthusiasm  which  will  grow  with  years, 
develoj)  a  finer  and  purer  taste,  and  awaken  nobler  aspira- 
tions. A  leaf,  a  prism,  a  i)yramid,  a  simple  conventional 
ornament  in  relief,  a  model  of  a  joint,  truss,  bolt,  or  wheel, 
as  examples  for  study  are  infinitely  superior  to  the  printed 
picture  of  these  objects.  So,  too,  if  the  pupil  is  taught  to 
make  the  geometrical  solids  of  paper  or  wood,  to  model 
his  ornament  in  wax  or  clay,  or  carve  it  in  wood,  or  make 
the  mechanical  model  in  clay  or  wood,  he  will  have  gained 
immensely  more  and  know  the  beauties  of  the  form  better 
than  if  he  had  copied  scoi-es  of  examples  from  the  flat. 
The  study  of  the  concrete  object  should  take  the  place  of 
the  printed  copy,  and  the  construction  of  these  forms  in 
some  simple  material  should  take  the  place  of  committing 
definitions  to  memory.  That  it  requires  more  knowledge 
and  skill  on  the  part  of  the  teacher  to  teach  from  nature 
is  unquestionable,  but  shall  the  teaching  of  drawing  be  on 
a  par  with  the  antiquated  method  of  hearing  recitations 
from  a  text  book  ?  Every  drawing  lesson  should  be  an 
appeal  to  the  observing  faculties  and  the  imderstanding. 
If  we  wish  to  cultivate  the  mind  while  gaining  skill  of 
hand,  we  must  draw  near  to  nature  and  learn  to  compre- 
hend her  laws  and  her  designs.  If  we  cannot  discover 
them,  we  must  attribute  it  to  our  ignorance.  Our  pupils 
will  never  regret  the  time  spent  in  studying  drawing  from 
nature,  or  from  models  in  wood  or  plaster  ;  and  we  will  be 
repaid  by  the  consciousness  of  having  introduced  them 
into  the  world  of  beautiful  forms  which  are  a  source  of 
constant  enjoyment,  and  prepares  them  better  to  perform 
their  part  in  life. 

21.      SYSTEMATIC    INSTRUCTION    NECESSARY. 

The  instruction  in  drawing  should  be  systematic,  having 
an  end  in  view,  and  adapted  to  the  capacities  of  the  pupils 
in  the  different  stages  of  school  work.  If  we  wish  our 
pupils  to  understand  nature  and  interpret  her  coiTectly,  we 
must  continue  in  a  long  course  of  drawing  from  the  geo- 
metrical solids,  from  the  cast  of  ornament  in  different 
styles,  and  accustom  them  to  draw  whatever  the}-  see  and 
on  all  occasions.  All  the  first  drawing  must  be  free-hand, 
depending  only  on  the  eye,  the  teacher  correcting  the 
drawing  and  gradually  introducing  the  pupil  to  the  first 
elements  of  perspective.  The  work  should  be  on  a  large 
scale,  and  with  a  soft  crayon-like  pencil.  It  is  better  to 
make  ten  different  drawings  than  to  spend  the  same  time 
upon  one  drawing.  Accuracy  of  delineation  should  be 
exacted,  but  not  at  the  expense  of  rapidity.  The  pupil 
should  be  accustomed  to  draw  from  memory  at  the  start 
and  continue  this  valuable  exercise  throughout  the  course. 
I  believe  that  for  the  great  mass  of  children  in  our  common 
schools  the  habit  of  free-hand  drawing  is  more  essential 
than  work   with  instruments,  for  free-hand  must  be   the 


DBA  WING. 


J^*"   OF  THE        X. 

Cai^IVERSIT' 


XXV 


foundation  of  anj^  system  of  training  whether  for  artists  or 
artisans.  Tlie  mechanical  draftsman,  the  architect,  the 
engineer  are  frequently  ol>liged  to  express  their  ideas  by 
sketches  or  off-hand  drawings  of  works  which  come  under 
their  observation. 

22.       COURSE    OF   STUDY. 

We  give  herewith  the  outlines  of  an  elementary  course 
in  drawing  : 

1.  Drawing  from  the  blackboard. 

2.  Study  of  the  geometrical  forms,  plane  and  solid. 

3.  Outline  drawing  from  the  geometrical  solids  and 
vases. 

4.  Outline  drawing  from  objects. 

5.  Drawing  from  casts  of  single  leaves. 

6.  Drawing  leaves  and  Howers  from  nature. 

7.  Drawing  from  cast  of  ornament. 

8.  Practice  in  the  use  of  draughting  instruments. 

9.  Linear  geometry. 

10.  Elementary  design. 

11.  Elementary  perspective. 

23.       AN    ADVANCED    COURSE    FOR    HIGH    SCHOOLS. 

1.  Outline  drawing  from  groups  of  geometrical  solids 
and  vases. 

2.  Outline  drawing  from  the   cast   of  architectural 
ornament. 

3.  Outline  drawing  from   the   cast  of  flowers,  fruit 
and  foliage. 

4.  Drawing   from  the  geometrical  solids  and  vases, 
shaded  with  charcoal. 

5.  Drawing  from  the  cast  of  architectural  ornament, 
shaded  with  crayon. 

6.  Drawing    from    the    cast    of    flowers,   fruit    and 
foliage,  shaded. 

7.  Drawing  from  objects,  shaded. 

8.  Drawing  details  of  human  figure  from  the  cast. 

9.  Geometrical  constructions. 

10.  Elementary  projection,  orthographic  and  isometric. 

11.  Linear  ijerspective. 

12.  Details  of  construction. 

13.  Elementary  structural  drawing. 

14.  Theory  and  harmony  of  color. 

15.  Shading  and  tinting  with  pen  and  brush  in  India 
ink  and  water  colors. 

16.  Analysis  of  plant  forms  for  purpose  ot  design. 

17.  Analysis  of  styles  of  historic  ornament. 
IS.     Principles  of  applied  design. 

24.      ELEMENTARY    INSTRUCTION. 

The  plane  geometrical  forms  used  in  the  early  study  of 
drawing  should  be  of  pasteboard  or  wood,  and  in  the  hands 
of  the  pupil.  The  drawing  of  these  forms  should  be  free- 
hand and  on  a  scale  larger  than  the  model.  The  teacher 
may,  however,  frequently  allow  the  pupils  to  trace  around 


the  forms,  in  order  to  fix  the  correct  idea  of  the  figure  in 
the  mind  of  the  learner.  The  outlines  of  leaf  forms  can 
also  be  drawn  at  this  early  stage. 

We  begin  the  study  of  the  solids  by  drawing  the  sphere 
and  the  spheroids,  and  natural  forms  and  objects  based  on 
these  solids.  The  outlines  of  vases  can  be  drawn  with 
much  profit  at  this  stage.  Next  the  study  of  the  cone  and 
cylinder  and  forms  based  on  them.  Much  time  can  now 
be  profitably  spent  in  the  study  of  the  cube  and  the  square 
prism.  The  elementary  jjrinciples  of  perspective  thus 
developed  will  aid  materially  in  the  drawing  of  the  remain- 
ing geometrical  solids.  Form  study  should  go  hand  in 
hand  with  drawing,  and  the  construction  of  the  solids  in 
some  simple  plastic  material  encouraged.  By  cutting 
forms  out  of  paper  or  pasteboard,  and  pasting,  the  devel- 
opment of  surfaces  is  practically  and  easily  taught. 

25.      SOME  SUGGESTIONS. 

In  drawing  the  outlines  of  leaf  forms,  or  from  casts  of 
ornament,  the  following  order  may  be  observed: 

1.  Draw  the  principal  perpendicular  and  horizontal 
lines  first,  as  we  can  only  judge  of  the  slant  of  the  oblique 
lines  by  comparing  them  with  some  standard  lines. 

2.  Sketch  the  general  shape  of  the  object,  and  decide 
upon  the  correct  general  proportions. 

3.  Draw  the  parts  definitely  and  add  no  details  until 
the  work  is  accurately  laid  in. 

4.  Erase  the  lines  until  they  are  just  visible. 

5.  Line  in,  or  make  the  true  outline.  The  line  should 
be  of  equal  thickness. 

Draw  leaves  and  flowers  from  nature.  With  the  nat- 
ural form  as  a  basis,  draw  the  conventional  form,  which  is 
regular  and  symmetrical.  The  (sonventional  leaf  form  is 
used  in  all  good  ornament. 

It  makes  very  little  difference  what  instrument  is 
employed  in  the  beginning.  Giotto — ^once  a  poor  shepherd 
boy,  used  a  stick,  and  made  drawings  of  his  flock  in  the 
sand,  and  on  flat  stones.  A  piece  of  charcoal  and  the  wall, 
or  a  piece  of  chalk  and  the  blackboard  have  been  helpful 
to  many  a  one.  The  student  should  consider  his  tools  of 
secondary  importance.  I^et  him  supply  them  as  he  feels 
their  need.  The  draughtsman  relies  upon  his  trained  hand 
and  eye  that  direct  the  medium  used,  and  not  upon  the 
instrument  itself.  The  quill,  the  steel-pen,  the  lead-pencil, 
the  crayon,  each  has  its  place  in  drawing,  and  the  student 
should  learn  to  use  them  all.  The  paper  should  not  be 
too  smooth,  but  have  a  rather  rough  surface.  The  less  the 
India  rubber  is  used,  the  better. 


26. 


DRAWING  FROM  OBJECTS. 


In  studying  the  solids  as  they  appear,  draw  them  in 
their  simplest  positions  first,  and  notice  the  apparent  con- 
vergance  of  the  parallel  lines;   also  that  the  representation 


C.  UENNECKE  CO.,  MILWAUKEE  AND   CHICAGO. 


of  a  circular  plane,  when  viewed  obliquely,  is  an  ellipse. 
These  elementary  princdples  of  perspective  once  mastered 
will  aid  the  student  materially  in  his  jjrogress.  Always 
draw  the  model  as  you  see  it,  and  not  as  you  remember 
having  seen  it  represented.  You  will  be  greatly  helped  in 
the  beginning  when  drawing  the  outline  of  an  object,  to 
use  only  one  eye,  as  the  object  then  appears  flat,  and  not 
as  a  solid.  When  judging  distance  we  must  use  both  eyes. 
When  we  wish  to  see  the  princijjal  msisses  of  light  and 
shade,  we  partially  close  both  eyes. 

Wire  models  have  been  constructed  to  aid  in  the  study 
of  the  appearance  of  solids.  A  pane  of  glass  placed  ver- 
tically between  the  student  and  the  object,  can  also  be  used 
to  advantage.  The  lines  bounding  the  object  can  be  traced 
upon  the  glass,  and  the  observations  made  by  the  eye 
verified. 

Good  books  on  the  subjects  of  model  drawing  and  per- 
spective can  not  easily  be  obtained.  There  is,  however,  no 
royal  road  to  drawing  any  more  than  there  is  to  the  attain- 
ment of  knowledge.  Books  and  teachers  may  be  consulted, 
but  the  student  who  is  not  serious  in  his  study  of  Art,  who 
does  not  make  a  conscientious  effort  to  master  the  difficul- 
ties presented  in  each  stage  of  work,  need  not  look  for 
success.  The  eye  as  well  as  the  hand  must  be  trained. 
Men  are  not  born  with  capacities  for  art  beyond  the  great 
mass  of  their  fellow-men.  They  can  only  rise  above  the 
common  level  by  study  and  right  training. 


27. 


WORKING  SKETCHES. 


The  regular  geometric  solids  should  also  be  studied 
with  reference  to  their  construction.  Three  views  of  each 
object  should  be  drawn,  that  is:  a  front  view,  a  view  from 
above,  and  a  view  from  one  side;  the  views  must  show 
corresponding  measurements.  These  views,  are  not  per- 
spective drawings,  but  simple  free-hand  "working  sketches." 
In  making  these  sketc'hes  draw  the  lines  which  represent 
the  contour  of  the  object  and  are  seen  as  full  lines;  the 
inner  lines  are  either  seen  or  hidden;  if  hidden,  they  are 
drawn  as  dotted  lines.  In  drawing  the  sections  of  solids, 
draw  the  cross  section,  the  longitudinal  section,  and  the 
oblique  section  of  each  solid. 

28.       DRAWING  THE  FEATURES. 

In  attempting  to  draw  the  features  of  the  face  from  the 
cast,  select  as  the  simplest  and  easiest  one  which  shows  a 
full  or  front  view  of  the  mouth.  Study  the  cast — think 
before  you  draw — and  having  detuded  upon  the  propor- 
tions of  the  parts,  put  the  general  ideas  obtained  on  paper 
and  combine  the  proportions  so  as  to  make  it  one  harmon- 
ious whole.  Compare  the  sketch  with  the  cast  before  you, 
and  continue  your  study  and  delineation  until  you  have 
obtained  a  drawing  which  shall  correspond  in  form  and 
character  to  the  model  before  you.     It  is  not  wise  to  imitate 


the  off-hand  and  ready  manner  of  the  expert  draughtsman. 
It  will  only  result  in  failure.  You  can  only  get  strength 
as  you  go  along.  The  power  to  delineate  with  accuracy 
and  rapidity  can  only  be  acquired  Ijy  patient  study  and 
unceasing  toil.  The  study  of  one  feature  in  the  manner 
indicated  aljove  will  contribute  more  to  your  progress  than 
a  dozen  desultory  sketches.  For,  unless  the  first  difficul- 
ties are  mastered,  the  student  will  soon  find  himself 
entangled  and  unable  to  extricate  himself.  Following  the 
study  of  the  mouth,  the  eye,  the  ear,  the  nose,  and  the  face 
may  be  taken  up.  Always  draw  on  a  large  scale  giving 
special  attention  to  correct  outline  and  proportion  of  parts. 
No  amount  of  time  spent  in  shading  will  make  up  for  poor 
drawing  of  form.  For  the  beginner,  casts  are  much  better 
than  the  living  model,  and  a  collection  of  good  casts  should 
be  found  in  every  school-room.  White  models  or  casts 
are  the  best  to  work  from,  because  the  laws  of  light  and 
shadows  are  best  studied  from  them;  being  non-absorbent, 
they  reflect  all  the  rays. 

While  pursuing  the  course  outlined  above,  either  under 
guidance  or  at  home,  let  the  student  also  attempt  to  draw 
from  objects  and  from  nature  as  his  fancy  directs  him. 
Bv  doing  so  he  will  encounter  difficulties  which  will  test 
his  strength,  and  have  a  strong  tendency  to  give  additional 
impulse  to  his  studies.  It  will  also  cultivate  that  love  for 
art  which  sometimes  suffers  by  adhering  too  rigidly  to  a 
prescribed  course. 

Let  the  student  further  test  himself  by  atlempting  to 
reproduce  drawings  from  memory.  If  he  cannot  remember 
what  he  has  once  learned,  if  he  cannot  draw  except  what 
he  sees  before  him,  he  is  not  only  losing  much  of  the  good 
already  ac<iuired,  but  failing  to  prepare  himself  for  the 
application  of  his  knowledge.  The  draughtsman,  the 
artist,  the  designer  are  const  uitly  obliged  to  draw  upon 
the  rich  stores  of  knowledge  acquired  during  the  years  of 
preparation  for  their  profession. 

29.       ELEMENTARY  GEOMETRY. 

Some  knowledge  of  elementary  geometry  and  the 
methods  of  constructing  the  most  important  mathematical 
figures  is  necessary  to  every  art  student.  It  will  help  to 
clear  the  path  to  truth,  solving  many  perplexing  difficul- 
ties, and  store  the  mind  with  ready  and  reliable  expedients 
for  the  attainment  of  certain  definite  ends.  These  results 
must  not  only  approximate  truth,  but  be  definite,  precise 
and  accurate.  The  value  of  the  work  is  lost,  if  it  is  care- 
lessly done.  The  instruments  used  are  the  ruler,  triangle, 
square,  compasses,  scale  and  protractor.  Others  can  be 
added  as  required.  The  use  of  each  of  these  instruments 
can  easily  be  learned,  as  also  the  methods  of  testing  their 
accuracy.  In  the  solution  of  problems  where  mechanical 
aids  are  employed,  no  part  of  the  work  should  be  attempted 
free-hand. 


DBA  WINO. 


XXVll 


Some  of  the  elementary  problems  are  herewith  sug- 
gested : 

1.  To  bisect  a  given  line  or  arc. 

2.  To  erect  a  perpendicular  to  a  line  at  its  middle 
point. 

3.  To  erect  a  perpendicular  to  a  line  at  any  point. 

4.  At  the  extremity  of  a  line,  to  draw  another  perpen- 
dicular to  it. 

5.  From  a  given  point,  to  draw  a  perpendicular  to  a 
line. 

6.  Through  a  given  point,  to  a  draw  a  perpendicular 
to  a  line. 

7.  To  draw  one  line  parallel  to  another. 

8.  To  draw  an  equilateral  triangle. 

9.  To  construct  a  triangle  with  given  sides. 

10.  To  construct  a  triangle  similar  to  a  given  triangle. 

11.  Make  an  angle  equal  to  a  given  angle. 

12.  To  divide  a  line  into  a  given  number  of  equal 
parts. 

13.  To  construct  a  square. 

14.  To  construct  a  parallelogram  when  an  angle  and 
the  adjacent  sides  are  given. 

15.  To  make  an  angle  of  60  degrees. 

16.  To  bisect  an  angle. 

17.  To  make  an  angle  of  80  degrees. 

18.  To  make  an  angle  of  45  degrees. 

19.  To  find  the  centre  of  a  circle. 

20.  To  tind  the  radius  of  a  given  arc  of  a  circle. 

21.  To  describe  a  circumference  through  three  given 
jjoints,  not  in  the  same  straight  line. 

22.  To  draw  a  tangent  to  a  circ'le  at  a  given  point  on 
the  circumference. 

23.  With  a  circle,  to  circumscribe  a  triangle. 

24.  With  a  circle,  to  circumscribe  a  square. 

25.  With  a  circle,  to  circumscribe  a  rectangle. 

26.  With  a  circle,  to  circumscribe  any  regular  polygon. 

27.  To  draw  a  line  tangent  to  a  circle,  from  a  point 
without. 

28.  To  draw  a  line  tangent  to  two  circles. 

29.  To  descibe  a  circle  tangent  to  a  given  circle. 

30.  In  a  circle,  to  inscribe  a  regular  hexagon. 

31.  In  a  circle,  to  inscribe  an  equilateral  triangle. 

32.  In  a  circle,  to  inscribe  a  square, 

33.  In  a  circle,  to  inscribe  an  octagon. 

34.  In  a  circle,  to  inscribe  any  regular  polygon. 

35.  To  inscribe  a  circle  in  a  triangle. 

36.  To  inscribe  a  circle  in  any  regular  plane  figure. 

37.  Upon  a  given  base  to  construct  any  regular 
polygon. 

It  will  frequently  happen  that  work  must  be  done  off- 
band  when  no  tools  are  near,  or  when  the  small  draught- 
ing instruments  will  not  answer  the  purpose.  In  such 
cases  it  is  necessary  to  resort  to  expedients,  using  such 


material  as  is  within  reach.  A  stout  piece  of  paper,  or 
cardboard,  a  bit  of  thread  or  cord,  a  few  pins  or  nails, 
a  lath,  may  be  all  that  are  necessary. 

30.       ELEMENTARY   PROJECTION. 

Instead  of  free-hand  sketches  of  the  projections  of  the 
solids,  they  should  now  be  drawn  with  great  accuracy  by 
the  use  of  instruments.  Begin  with  the  solids  bounded 
by  plane  surfaces,  such  as  the  cube  and  the  prisms,  in 
various  positions.  (Page  1.)  Follow  with  pyramids, 
cone,  cylinder,  and  other  regular  forms  shown  on  pages  1 
and  2.  Having  drawn  the  different  projections  of  the 
above-named  solids,  there  will  now  be  no  difficulty 
experienced  in  drawing  Nos.  3036,  3040,  3041,  3037,  3039 
and  3035,  on  page  2.  Here  we  have  tangible  objects  for 
our  study,  not  mere  abstractions.  The  models  can  now  be 
parts  of  machines,  or  achitectural  details,  which  are  first 
studied,  then  sketched,  and  lastly,  drawn  to  scale,  making 
complete  working  plans  from  which  a  duplicate  of  the 
original  could  be  constructed. 

31.       COURSE  IN  DRAWING  IN  THE  PHILADELPHIA  MANUAL 
TRAINING  SCHOOL. 

We  give  below  the  excellent  course  adopted  by  the 
Board  of  Public  Education  of  Philadelphia  for  the  Manual 
Training  School  of  that  city.  It  will  serve  as  a  guide  to 
others  who  contemplate  the  introduction  of  a  thorough 
course  in  industrial  departments  connected  with  the  High 
School,  or  the  grammar  grades  of  our  common  schools. 

"  From  the  beginning  the  pupil  is  taught  to  interpret 
working  drawings,  and  to  reproduce  them  from  the  indi- 
cated forms.  He  must  understand  the  language  in  which 
they  are  described,  and  acquire  by  education  and  expe- 
rience the  ability  to  obey  it. 

"While  drawing  underlies  all  indu.strial  work,  its  appli- 
cation is  not  limited  to  mechanical  construction.  Through- 
out all  the  departments,  drawing  is  the  common  language 
used  in  explaining  facts,  ideas  and  principles.  By  means 
of  historical,  botanical,  and  topographical  maps,  literary 
and  economic  charts,  geometric  and  electrical  diagrams, 
anatomical  and  geological  sketches,  the  pupil  graphically 
expresses  the  lessons  taught  in  the  class-room. 


32. 


FIRST  YEAR. 


"  Constructive  Drawing.  (Mechanical.) — Proper  care 
and  use  of  instruments;  class  study  of  the  geometric  facts 
of  shape  and  size  in  typical  solids;  the  method  of  repre- 
senting and  describing  such  focts  applied  in  the  prepara- 
tion of  free-hand  dimension  sketches  of  the  exercises 
which  are  afterwards  made  in  the  shops;  finished  working 
drawings  made  to  scale  from  them;  orthographic  projec- 
tions ;    sections  and  intersections,  and  surface  develop- 


XXVIU 


C.  HENNEGKE  CO.,  MILWAUKEE  AND  CHICAGO. 


ments ;  lettering ;  conventional  methods  and  technical- 
ities in  accordance  witli  the  best  modern  practice  of  the 
draughting-room. 

"Representative  Drawing.  {Free-hand.) — The  analy- 
sis of  forms  singly  and  in  groups,  prepare  for  their 
accurate  representation  on  paper,  or  the  blackboard. 
Much  practice  is  given  in  making  drawings  of  various 
objects  seen  out  of  school,  yet  based  upon  the  simple  geo- 
metric solids,  casts,  and  natural  forms  upon  which  the 
pupil  has  received  instruction  and  practice  in  the  school- 
room. 

"  Decorative  Drawing.  {Design.) — Elementary  geo- 
metric design  ;  straight  lines,  curve  lines,  and  their  com- 
binations ;  geometric  figures ;  elementary  conventional 
design. 

33.      SECOND  YEAR. 

"  Constructive  Drawing.  {Mechanical.) — Preparation 
of  finished  working  drawings  from  free-hand  dimension 
sketches,  from  blackboard  drawings,  and  from  dictated 
directions  ;  drawings  of  patterns  and  forge  work  to  be  used 
in  shops.  Shop  tools  and  machine  details— such  as 
calipers,  wrenches,  pipe  fittings,  pulleys,  details  of  engi- 
neering structures;  parts  of  lathe;  steam  engine,  etc.; 
development  of  surfaces  applied  in  preparing  working 
drawings  for  tin  smithing  exercises. 

"  Representative  Drawing.  {Free-hand.) — Represen- 
tation of  tlie  appearance  of  the  rectangular  and  circular 
objects,  with  shades  and  shadows.  Free-hand  drawing 
from  simple  casts,  and  natural  forms. 

"Decorative  Drawing.  {Dedyning.) — Typical  historic 
forms,  and  simple  natural  forms  conventionalized  ;  design 
to  fill  given  sjjace;  borders  and  surface  covering;  principles 
of  arrangement ;  repetition  ;  alternation  ;  cumulation  ; 
radiation  ;  symmetry. 

34.     THIRD  year. 

"  Constructive  Drawing.  {Draughting.) — Machine 
drawings,  tracings,  and  blue  pi-ints  made  from  Idackboard 
and  note-book  sketclies  ;  drawings  of  steam  engine  and 
electric  motor  to  be  used  in  the  '  projects '  in  the  shops  ; 
isometric  drawing ;  ornamental  coloring  and  India  ink 
shading  with  pen  and  brush  ;  designing  of  screw  threads, 
gear  wheels  and  parts  of  machinery,  from  specifications ; 
plotting  of  irregular  mechanical  movements. 

"  Representative  Drawing.  {Free-hand.) — Advanced 
free-hand  drawing  from  models,  casts,  natural  and  historic 
forms  ;  light  and  shade  ;  coloring.  Elements  of  linear 
perspective  and  the  perspective  of  shades  and  shadows. 

"  Decorative  Drawing.  (T)?*!//*!?'/)*/.)  — Geometric,  his- 
toric and  conventional  forms  in  design  ;  analysis  and  con- 
ventionalization of  natural  forms  ;    designing  of  repeated 


pattern  and  repeated  forms ;  planning  of  ornament. 
Applied  design ;  analysis  of  colored  designs ;  original 
designs  in  color  and  relief." 


35. 


decorative  ornament. 


Ornament  may  be  classified  as  surface  or  flat  ornament, 
and  relief  ornament.  The  former  is  the  industrial  appli- 
cation of  the  fine  art,  painting.  The  latter  is  the  appli- 
(;ation  of  sculpture  to  industrial  purposes.  lu  surface 
ornament  we  attempt  to  convey  the  ornamental  character 
of  the  subject  by  outline  and  color.  In  relief  ornament, 
the  ornamental  forms  are  raised  from  the  surface  of  the 
object  decorated.  Of  the  two,  relief  ornament  is  the 
greater,  as  it  requires  more  originality  and  greater  skill  to 
produce  it. 

Ornament  is  employed  in  the  decoration  of  works  of 
art,  and  in  the  art  industries.  It  is  most  frequently 
applied  in  architecture,  and  in  manufactured  articles  and 
vessels  of  use  and  beauty.  The  forms  which  serve  as 
patterns  for  ornament  are  found  in  plants.  The  human 
figure  and  the  animal  form  is  used  symbolically,  and  only 
occasionally  in  a  constructive  manner. 

The  first  principle  to  be  observed  in  decorative  design 
is,  that  it  must  be  subordinate.  Whenever  decoration 
asserts  itself,  and  hides  the  principal  form,  it  offends 
against  good  taste. 

A  second  principle  in  all  decorative  design  is  that  it 
must  promote  and  further  its  proper  effect.  It  must  be  in 
harmony  with  it.  It  must  have  a  meaning,  contain  an 
idea;  it  must  be  significant. 

A  third  principle  to  be  observed  is,  that  the  treatment 
of  the  subject  must  be  according  to  the  nature  of  the 
material  used.  In  stone  or  cast  iron,  the  general  form  or 
outline  of  the  ornament  need  only  be  given  ;  while  in 
marble  or  terra-cotta,  a  more  delicate  treatment  of  tlie  sub- 
ject, almost  imitating  nature,  might  be  attempted. 

The  characteristics  of  the  different  styles  can  best  be 
learned  by  the  study  of  good  examples.  Want  of  space 
prevents  me  from  giving  more  than  a  brief  outline  of  the 
great  styles. 

36.     historic  styles  op  architecture. 

The  great  historic  styles  of  Architecture  are  :  the 
Egyptian,  tlie  Hindoo,  the  Chinese,  the  Grecian,  the 
Roman,  the  Byzantine,  the  Moorish,  the  Gothic  and  the 
Renaissance.  Each  of  these  styles  is  characterized 
by  the  manner  in  which  the  inhabitants  respectively  cover 
or  roof  areas,  or  spaces.  The  Egyptian  built  gigantic 
pyramidal  structures  of  solid  granite  and  sandstone.  The 
Babylonians  used  clay  and  bitumen  in  their  structures  and 
developed  a  style  peculiar  to  their  country.  The  Chinese 
architecture  is   of  the   t«nt   type.      Hindoo   architecture 


DBA  WING. 


XXIX 


shows  the  use  of  the  arch,  not  radiating  as  in  the  Roman 
and  Gothic,  but  formed  by  stones  laid  flatwise  and  over- 
lapping each  other  like  inverted  steps.  The  horse-shoe 
arch  is  found  in  Moorish  architecture.  The  Greeks 
covered  their  openings  with  a  flat  stone;  the  Romans  with 
a  circular  arch;  the  Goths  with  a  pointed  arch  composed 
of  circular  segments.  The  difficult  problem  of  providing 
supports  for  coverings  to  doorways,  to  passages,  to  com- 
partments, as  well  as  to  the  whole  interior  of  the  structure, 
gave  rise  to  the  different  styles  of  columns,  entablatures, 
and  gables.  In  Grecian  architecture  we  have  the  three 
orders:  the  Doric  (Fig.  3301,  3304),  the  Ionic  (Fig.  3305, 
3306),  and  the  Corinthian  (Fig.  3300,  3303),  the  character- 
istic features  of  these  orders  being  found  in  the  column  and 
its  capital.  (Page  31).  The  Corinthian  was  the  most 
beautiful  of  the  Grecian  orders.  Two  other  orders,  the 
Tuscan  (Fig.  3307,  3308),  and  the  Composite  (Fig.  3299, 
3302),  were  used  in  classic  architecture. 


37. 


HISTORIC  ORNAMENT. 


Greek  ornament  was  not  symbolic  like  the  Egyptian 
(Fig.  3170),  it  was  purely  decorative  and  can  hardly  be 
called  constructive,  as  the  ornament  forms  no  part  of  the 
construction.  The  ornament  in  the  Corinthian  capital  is 
merely  laid  on.  It  is,  however,  pure,  chaste  and  rich.  The 
Greeks  were  great  students  of  nature  and  followed  the  three 
laws  of  nature;  1.  Radiation  from  a  central  point;  2.  Pro- 
portional division  of  the  surface;  3.  Tangential  union  of  lines. 

Some  of  the  choicest  ornaments  of  classic  Greece  are  rep- 
resented in  Figs.  3320,  3231,  3323. 

The  Romans  were  lavish  in  their  decoration.  From 
the  base  of  the  column  to  the  top  of  the  gable  every  part 
of  the  facade  was  profusely  decorated.  The  ornament 
forms  no  part  of  the  construction.  The  ease  with  which 
the  acanthus  leaf  was  applied  everywhere,  caused  them  to 
leave  the  decoration  of  surfaces  in  the  hands  of  persons 
without  artistic  taste.  We  refer  to  Figs.  3826,  3327,  8328, 
3295,  as  fine  examples  of  this  style. 

The  Trajan  column  with  its  gilded  reliefs  on  colored 
ground  (Figs.  3558,3563  to  3581),  was  embraced  within  the 
gigantic  structure,  the  Basilica  Ulpia.  the  principal  build- 
ing of  the  Forum  of  Trajan. 

The  Byzantine  ornament  was  developed  by  Greek 
artists  out  of  Christian  symbolism.  The  great  features  of 
the  style  are  the  circle  and  dome,  the  round  arch,  and  all 
the  various  details  of  forms  which  are  derived  from  the 
lily,  the  cross,  the  nimbus  and  other  symbols.  In  this 
style  of  ornament  appear  elliptic  forms,  sharp  pointed 
leaves,  unbroken  leaf-work  without  flowers.  The  finest 
examples  are  from  the  mosque  of  St.  Sophia  at  Constanti- 
nople, and  the  church  of  St.  Mark  at  Venice.     (Fig.  3316.) 

The  Romanesque  is  the  modification  that  took  place  in 
the  classic  style  in  the  Western  Empire,  principally  in  the 


countries   north  of  the  Alps,  under  the  influence  of  the 
so-called  Gothic  races. 

The  best  examples  of  Moorish  ornament  are  from  the 
Alhambra  in  Spain.  Figs.  3283,  3284, 3285,  and  3287  are 
examples  of  this  .style. 

The  Gothic  style  flourished  from  the  middle  of  the 
12th  to  the  middle  of  the  14th  century.  It  originated 
under  the  influence  of  the  rich  architectural  monuments 
of  Normandy,  Burgundy  and  Provence,  and  spread  rapidly 
to  England,  Germany,  Italy,  Spain  and  the  Scandinavian 
countries.  In  its  purest  or  highest  state  of  perfection,  it  is 
marked  by  geometrical  window-tracery  (Page  23),  richly 
ornamented  door-ways,  delicate  mouldings,  and  elaborately 
carved  imitations  of  leaves,  as  of  the  vine  and  oak,  often 
conventionalized,  but  not  unfrequently  copied  from  nature. 
Fine  examples  of  this  style  are  to  be  found  in  the  Cathedral 
of  St.  Denis,  near  Paris;  Cathedral  of  Notre  Dame,  Paris; 
Cathedral  of  Chartres;  Cathedral  of  Rheims;  Cathedral  of 
Amiens;  the  latter  is  considered  as  representing  the  high- 
est degree  of  perfection  which  the  style  has  reached.  In 
England:  Cathedral  of  Canterbury;  Westminster  Abbey; 
Cathedral  of  Exeter;  Cathedral  of  York.  In  Germany: 
Cathedral  of  Cologne,  and  the  Church  of  St.  Stephen  in 
Vienna.  Figs.  3235,  3066,  3067,  3068,  .3070,  3297,  3311, 
3312,  3319. 

The  Renaissance  style  was  developed  in  Italy  at  the 
close  of  the  15th  Century.  At  first  the  classic  Roman 
ornament  was  carefully  reproduced,  but  through  the  study 
of  nature  new  elements  of  decoration  were  introduced, 
until  a  rich  and  elegant  style  was  produced  that  aff'ords 
excellent  examples  for  study  to  the  art  student.  Fine 
examples  are  found  in  St.  Maria  dei  Miracoli  in  Venice  ; 
Cathedral  of  Florence  ;  St.  Peter's,  Rome  ;  in  France,  the 
Tuileries  ;  parts  of  palace  of  Fontainebleau  ;  Chateau  of 
Versailles. 

Examples  of  this  style  are  scattered  through  the  pages 
of  this  book.  We  can  only  refer  to  Figs.  3322,  3329,  to 
the  capitals  on  page  31  and  to  the  index. 

38.      THE    INDU3TRIAI.    ARTS. 

We  have  frequently  referred  to  the  art  industries  in 
these  pages,  and  it  inay  assist  the  student  to  a  better 
understanding  by  naming  some  of  them.  They  may  be 
classified  as  follows  :  1.  The  art  of  working  the  precious 
metals— gold  and  silver.  2.  Work  in  bronze,  copper  and 
iron.  3.  The  art  of  enameling.  4.  Artistic  furniture. 
5.  Carving  in  ivory.  6.  The  ceramic  art.  7.  Manufac- 
ture of  majolica.  8.  Glass  making.  9.  Glass  painting 
and  glass  mosaics.  10.  The  ancient  art  of  mosaics  and 
inlaid  work.  11  Book  decoration.  12.  Ancient  armor 
and  artistic  arms.  13  Textile  fabrics.  14.  The  manu- 
facture of  lace.  15.  The  manufacture  of  artistic  wall- 
paper. 


C.  HENNECKE  CO.,  MILWAUKEE  AND  OHIO  AGO. 


39.       THE    FINE    ARTS. 

The  Fine  Arts  are  architecture,  sculpture  (the  plastic 
art),  jjainting  (the  graphic  art),  music  and  poetry. 

The  Graphic  Arts  may  be  classified  as  drawing  in  the 
different  mediums  ;  water  monochrome  ;  oil  monochrome  ; 
pastel ;  tempera ;  fresco  ;  painting  in  oil  colors ;  painting 
in  water  colors ;  painting  on  tapestry ;  wood  engraving ; 
line  engraving  ;  aquatint  and  mezzotint ;    lithography. 


The  Plastic  Arts  may  be  divided  into  the  arts  of  cut- 
ting or  carving  in  marble  and  stone ;  modeling  in  a 
plastic  material ;  producing  metal  casts  from  the  plastic 
material  by  founding  ;  ornamented  metal  work  formed  in 
relief— repottsse ;  gem-engraving;  die-engraving  or  die- 
sinking  ;  wood-carving  ;  the  art  of  preparing  moulds  and 
casts  in  plaster,  wax,  etc. 


Itfl^Jlii^; 


BY    CHAS.    F.    ZIMMERMANN. 


ODELING  in  a  plastic  material,  when  consid- 
ered as  a  means  of  manual  training,  possesses 
the  highest  value  as  an  element  of  culture.  If 
the  aim  of  manual  education  is  to  develop  skill 
in  the  learner  to  shape  material  according  to  a 
certain  design,  it  is  most  easily  accomplished 
by  using  some  pliable  substance  which  can  be 
made  to  assume  the  desired  form. 

On  account  of  their  great  plasticity,  clay  and  wax  have 
been  used  in  the  plastic  arts  more  than  any  other  sub- 
stance. Work  in  -wood,  metal,  or  stone  is  more  difficult, 
requiring  more  time  and  more  tools.  Those  who  can 
model  in  wax  or  clay  are  prejjared  to  work  in  harder 
materials;  the  skill  acquired  in  handling  the  few  and 
simple  tools,  the  power  gained  of  thinking  in  a  solid,  and 
of  executing  the  design  in  a  relatively  short  period  of 
time,  the  cultivation  of  the  taste  of  the  modeler — all  stamp 
modeling  as  the  basis  of  manual  education. 

We  are  still  laboring  under  the  delusion  that  modeling 
is  a  difficult  art,  and  that  it  should  not  be  attempted  until 
the  pupil  has  learned  to  draw  well.  We  forget  that  man 
successfully  modelled  in  clay  and  carved  in  wood  and 
stone  before  he  intelligently  expressed  his  ideas  by  draw- 
ing. In  the  industries,  and  in  industrial-art  education  in 
Europe,  this  has  long  been  recognized.  In  the  wood- 
carving  schools  of  NUmberg,  the  students  are  expected  to 
devote  themselves  exclusively  to  modeling  for  one-half  of 
the  first  school  year.  In  the  industrial-art  school  at  Stutt- 
gart, modeling  is  made  the  basis  of  instruction  in  the  dif- 
ferent arts.  As  a  complement  of  drawing,  modeling  has 
already  found  its  place  in  the  common  schools  of  Europe 
as  an  additional  aid  in  the  industrial  education  of  the 
masses.  The  time  cannot  be  far  distant  when  by  the 
addition  of  modeling  to  our  school  course,  the  executive 
powers  of  our  children  will  receive  greater  scope  for  action. 


The  English  Commission,  already  referred  to,  recom- 
mended the  introduction  of  modeling  into  the  schools  in 
the  following  words: — 

"  We  are  of  the  opinion  that  more  attention  than  has 
hitherto  been  devoted  to  it  should  be  directed  to  the  sub- 
ject  of  modeling   in   the  elementary  schools 

Modeling  is  an  exercise  of  great  importance  to  the  future 
workmen,  and  its  rudiments  can  well  be  taken  up,  as  in 
continental  schools,  at  the  earliest  age." 

Violet  le  Due  says: — 

"  Whoever  knows  how  to  draw  must  be  able  to  model ; 
and,  when  one  perfectly  conceives  a  form,  it  is  no  more 
difficult  to  render  it  by  the  aid  of  the  chisel  than  by  a 
pencil:  one  must  therefore  accustom  himself  to  freely  use 

either One   cannot    draw    an    object    well, 

unless  one  is  able  to  model,  shape  and  fashion  it,  and  to 
supply  what  drawing  gives  only  after  much  time  and 
labor,  and  many  exjjlanations." 

Modeling  in  clay  is  a  practical  art  and  depends  on  the 
experience  and  skill  of  the  modeler.  In  the  following  ])ages 
we  can  only  give  an  account  of  the  nature  and  uses  of  the 
tools,  the  necessary  consistency  of  the  clay,  and  some 
descrijition  of  the  processes  employed  in  the  art. 

2.      EARLY    BEGINNINGS    IN    THE    ART. 

''  The  name  of  the  Sikyonian  potter  Boutades  is  con- 
nected with  the  introduction  of  this  branch  of  art;  it 
appears  to  have  been  in  the  middle  of  the  seventh  century 
B.  C.  that  he  ornamented  the  acroteria  and  antefixes  of 
the  temple  roof,  first  with  low-relief  (prostypon),  and  then 
with  high-relief  (ectypon).  He  also  left  a  portrait  panel 
in  terra-cotta,  shown  in  the  Nymphaion  of  Corinth  until 
the  destruction  of  that  city  as  the  first  work  of  its  kind. 
In  connection  with  it  was  told  the  pleasing  anecdote  that 
the  daughter  of  Boutades,  in  .taking  leave  of  her  lover. 


MODELING. 


XXXI 


sketched  his  shadow  upon  the  wall  with  charcoal,  the 
father  afterwards  filling  out  the  outline  with  clay  and  burn- 
ing the  relief  thus  produced.  Neither  of  these  accounts 
are  of  great  direct  value,  but  that  a  potter  could  achieve 
a  lasting  reputation  as  an  artist  may  perhaps  show  that 
modeling  in  clay  had  already  made  essential  progress, 
and  thus  prepared  the  way  for  brass-founding,  which 
re(iuires  an  original  and  mould  of  this  more  plastic  mate- 
rial." Modeling  seems  to  have  sprung  up  naturally  in  all 
parts  of  the  world;  its  origin  must  be  sought  in  the  imi- 
tative faculty  of  man. 

"  The  Greeks  were  for  a  long  time  satisfied  with  model- 
ing figures  in  clay,  and  decorating  them  with  colors  in  a 
rude  and  conventional  style ;  from  this  they  passed  to 
images  cut  out  of  soft  stone,  or  even  marble,  still  retaining, 
and  always  to  the  end  retaining,  the  practice  of  modeling 
and  moulding  in  clay.  The  next  steps,  perhaps,  would  be 
the  painting  of  rude  figures  on  tiles,  as  votive  offerings  or 
as  trade  insignia,  and  along  with  this  the  decoration  of 
pottery  would  be  carried  on.  This  decoration  answers  in 
simplicity  to  the  unstudied  and  rude  shapes  of  the  early 
pottery,  often  borrowed  from  natural  forms  of  shells  or 
gourds.  From  this  archaic  system  of  decoration,  ami 
these  squat  and  ungainly  forms,  we  pass  by  slow  stages 
to  more  symmetrical  and  elegant  shapes,  and  to  a  richer 
and  more  varied  ornamentation.  No  doubt,  in  time,  as 
our  knowledge  comes  to  be  more  extended,  we  shall  trace 
many  of  the  principles,  practices  and  discoveries  which 
we  now  attribute  to  the  Greeks,  and  which  the  Greeks,  in 
their  time,  attributed  to  themselves,  to  earlier  civilizations, 
to  the  Egyptians,  Assyrians,  Indians,  and  perhaps  to 
peoples  still  further  east.  But  the  glory  will  still  rest 
with  the  Greeks — no  matter  what  revisions  of  history 
future  discoveries  may  force  upon  us — that  they  threw  ofl:' 
their  swaddling  clothes  and  went  from  one  advance  to 
another  until  they  had  reached  the  perfection  that  in  all 
the  arts  has  made  the  types  and  standard  of  excellence. 
The  names  of  Polygnotus,  Zeuxis,  Parrhasius,  Apelles,  and 
Protogenes  are  those  which  have  come  down  to  us  as  the 
chiefs  of  Greek  painting  ;  but  such  men  were  only  possible 
on  the  condition  of  a  wide-spread  preparation  for  their 
coming  by  multitudes  of  painters  and  abundant  employ- 
ment ;  and  to  maintain  their  art  at  a  high  level  they  must 
have  been  surrounded  by  an  atmosphere  of  general  talent 
and  achievement  in  which  alone  such  gifts  as  theirs  can 
come  to  flower  and  fruit." — The,  Cfuiutauquan. 

"  But  it  was  prol)ably  many  centuries  before  there  was 
anything  like  precision  of  execution,  or  correct  anatomy, 
such  as  we  see  in  the  golden  age  of  Greek  statuary,  of 
which  Phidias  and  Praxiteles  were  the  exponents.  These 
artists  conceived  ideal  types  for  the  representation  of  the 
special  characteristics  of  gods  and  heroes,  and  spoke  as 
much   to  the  mind  of  the  beholder  as   to   his  eye.     To 


understand  their  statues  we  nmst  follow  the  mind  of  the 
artist  and  trace  the  idea  he  meant  to  convey.  We  must 
contrast  the  dignity  of  Hera  with  the  gravity  of  Pallas,  the 
chaste  sprightliness  of  the  maiden  Artemis  with  the  insin- 
uating attractiveness  of  Aphrodite,  the  l)eauty  of  the  young 
Ajjollo  with  the  eff'eminacy  of  the  young  Dionysius,  the 
manliness  of  Ares  with  the  power  of  Zeus,  the  joviality  of 
Silenus  with  the  mischief  of  Eros.  It  is  just  in  their  mis- 
conceptions of  these  ideals  that  restorers  of  statues  have 
failed  so  lamentably  ;  it  is  the  want  of  this  conception 
that  makes  us  unable  to  distinguish  a  good  statue  from  a 
bad  one,  and  that  leads  an  uneducated  eye  to  despise  a 
beautiful  torso  as  a  mere  stone  fragment,  the  useless 
encumbrance  of  a  gallery." 

3.      SCULPTURE   IN    THE   KOUND    AND   IN    KELIEi'. 

Sculpture  in  completely  solid  form  imitates  the  original 
in  the  three  dimensions  of  length,  breadth  and  thickness, 
either  on  the  same  scale  or  reduced.  But  when  the  work 
reproduces  the  projiortions  of  the  original  in  two  dimen- 
sions, length  and  breadth,  and  the  third,  depth  or  thick- 
ness in  a  diminished  proportion,  we  have  sculpture  in 
relief.  Works  in  relief  are  of  three  kinds:  Alto-relievo, 
(high  relief),  mezzo-relievo,  (medium  or  middle  relief), 
and  basso-relievo,  (low  relief).  Statues,  groups,  busts  and 
vases,  are  examples  of  sculpture  in  the  njund;  while  works 
in  relief  are  usually  for  the  decoration  of  works  in  archi- 
tecture or  sculpture. 

4.       TOOLS    USED    IN    CLAY    MODELING. 

The  tools  called  modeling  tools  are  made  of  boxwood, 
dogwood,  beech,  maple  or  any  hard-grained  wood.  They 
are  also  made  of  bone,  ebony  and  wire.  Exi)erienced 
modelers  use  their  fingers  more  than  they  do  their  tools. 
Tools  have  been  invented  to  aid  the  fingers,  and  are 
designed  to  do  what  they  cannot  perform.  Wire  tools 
have  loops  of  various  shapes  and  sizes,  round  and  angular, 
and  fixed  into  wooden  handles.  The  wire  tools  are  most 
useful  in  the  folds  of  draperies  and  in  close  or  narrow  con- 
cave surfaces.  Those  used  for  denting  or  pressing  have 
rounded  edges  ;  for  cutting,  sharp  edges;  and  for  scraping, 
serrated  edges.  The  broad  notched  tools  are  designed 
chiefly  for  working  the  large  convex  masses,  or  large  folds 
in  drapery.  Great  care  must  be  exercised  not  to  retouch 
work  already  done  with  a  tool  while  clay  is  adhering  to  it. 
(See  modeling  tools  on  pages  82  and  83).  A  piece  of  wire  is 
used  for  cutting  larger  masses  of  clay.  A  vessel  containing 
water,a  brushfor  sprinkling  the  model,  a  dampened  sponge 
for  moistening  tools  and  fingers,  and  wet  cloths  for  cover- 
ing the  work,  are  important  necessaries. 

The  simplest  modeling  stand  is  made  of  boards,  placed 
obliquely  at  an  angle  of  about  60  degrees  upon  a  second 


a  HENNEQKE  CO.,  MILWAUKEE  AND  CHICAGO. 


board  or  upon  the  table.  The  top  board  is  supported  at 
the  back.  By  painting  the  modeling  board  it  can  be  kept 
fi-om  warping.     (Fig.  4004.) 

The  modeling  l^oard  for  reliefs  is  made  of  a  strong 
wooden  frame,  in  which  are  fixed  narrow  cross-pieces  to 
prevent  the  board  from  warping.  By  nailing  a  narrow 
frame  inside  of  the  first,  it  can  be  made  a  shallow  box. 
(Fig.  4003.) 

The  large  modeling  stand  (Fig.  4005.)  having  a  top  turn- 
ing on  a  pivot,  and  the  easel  (Fig.  4006.)  can  be  easily  con- 
structed. Wood  and  wire  modeling  tools  and  a  pair  of 
modeler's  calipers,  for  measuring  proportions  can  be 
obtained  of  the  C.  Hennecke  Co. 

5.       MODELING    CLAY. 

It  may  safely  be  affirmed  that  without  clay  the  sculptor's 
art  could  never  have  reached  the  high  plane  which,  by 
its  use,  it  has  been  enabled  to  gain.  The  clay  known  as 
potter's  clay  is  used  in  modeling.  If  the  work  is  to  be 
used  as  a  model,  the  clay  can  be  highly  plastic,  but  if  it 
is  to  be  fired,  it  must  be  made  more  porous  by  the  addi- 
tion of  sand.  All  clays  shrink  by  firing,  the  shrinkage 
varying  from  \^  \a  }/z  on  the  exterior,  and  from  ]/^  to 
5-^  internally,  according  to  the  amount  of  moisture  in 
the  clay  prior  to  firing,  and  length  of  exposure.  Clay,  as 
found  in  nature,  is  rarely  fit  for  use;  it  must  be  thoroughly 
worked,  freed  from  all  impurities,  pebbles  and  gritty  sub- 
stances, and  exposed  to  atmospheric  action  for  a  long 
time.  It  is  best  to  get  your  supply  from  the  potter,  where 
you  can  at  the  same  time  determine  its  character  from 
the  quality  of  his  wares.  If  it  is  in  a  moist  state,  keep  it 
so  by  frequently  sprinkling  water  over  it ;  if  it  is  dry, 
break  it  up  into  pieces  of  the  size  of  a  nut,  saturate  it, 
and  then  knead  it  until  it  is  fit  for  use.  Keep  the  clay  in 
a  covered  vessel,  to  prevent  evaporation  ;  a  zinc-lined  box, 
a  jar,  or  a  pail  will  answer. 

When  ready  for  work,  the  clay  must  be  so  wet  that  it 
will  not  stand  in  a  mass  much  higher  than  its  own  width 
without  support.  The  clay  adheres  much  more  to  the 
tools  when  wet,  but  it  is  at  the  same  time  much  more 
easily  and  quickly  worked. 

6.      MODELING    FROM    A    CAST    OF   ORNAMENT;     THE    FOOT, 
HAND   OR    BUST. 

Having  selected  a  simple  cast  for  your  first  effort,  place 
the  bench,  table  or  modeling  stand  under  the  window,  or 
let  the  light  fall  on  it  from  the  left  side.  Make  a  ground 
for  the  figure.  Use  the  toothed  tool  to  scrape  the  surface 
even  and  flat.  By  nailing  guide  pieces  to  the  side  of  the 
table  or  modeling  board,  and  drawing  a  piece  of  wood 
across,  the  thickness  of  the  clay  ground  can  be  made  even. 
When  building  upon  this,  determine  where  the  figure  is  to 


be  placed,  and  make  deej)  cuts  crossing  each  other  in  the 
ground,  roughening  it,  and  press  clay  on  the  ground  thus 
prepared.  Press  the  clay  with  some  force  so  as  to  incor- 
porate the  pieces  well  with  the  ground.  Give  the  figure 
the  exact  form,  removing  clay  on  all  sides. 

The  actual  modeling  is  done  by  hand  alone,  the 
thumb  and  fingers  pressing  the  clay,  giving  it  the  general 
form.  The  midrib  and  other  ribs  in  the  leaf  form  are 
worked  out  by  the  aid  of  the  tools.  Remove  the  clay 
from  the  middle  to  the  edges,  scraping  it  away  with  the 
tool.  Hold  the  tool  nearly  horizontally,  the  points  of  the 
four  fingers  resting  on  it,  and  the  thumb  supporting  it  on 
the  under  side.  While  at  work  keep  the  clay  of  the  con- 
sistency of  putty.  In  joining  two  pieces  smooth  the  sur- 
faces that  are  to  be  blended ;  the  clay  that  is  applied 
should  be  softer  than  the  work  itself,  as  it  stays  in  place 
better.  Do  not  keep  clay  in  the  hand  any  length  of  time, 
as  the  moisture  evaporates  rapidly.  In  modeling  the 
hands,  feet,  or  bust,  block  in  roughly  in  large,  broad, 
square  planes  or  flats,  leaving  the  details  until  later.  (Figs. 
3948  to  3959).  Sprinklethe  work  frequently  as  you  proceed. 
A  plasterer's  brush  is  the  best  instrument  for  this  purpose. 
At  night,  or  when  the  artist  is  not  at  work  on  the  model, 
it  should  be  covered  over  with  a  wet  cloth  or  sheet.  It 
can  also  be  kept  moist  a  long  time  by  covering  the  model 
with  an  oil-silk  bag. 

7.      SUPPORTS    FOR    THE    CLAY. 

It  is  very  important  that  the  supports  for  the  clay  be 
properly  attended  to,  else  th6  fruits  of  months  of  labor 
might  suddenly  break  to  pieces  through  its  own  weight. 
The  supports  of  a  full-length  figure  are  shown  in  the  illus- 
tration (Fig.  3990).  Such  a  figure  is  usually  modeled 
upon  a  bench  or  stand  aVjout  thirty  inches  high  and  thirty 
inches  square.  For  a  bust  it  must  be  much  higher  (See 
Fig.  3992). 

Above  this  stand  is  placed  a  revolving  plinth.  This 
is  necessary  to  enable  the  sculptor  to  see  his  work  on 
all  sides  in  any  light,  and  it  enables  him  to  work  on 
all  parts  in  one  spot,  or  in  the  same  light.  On  the 
center  of  the  plinth  there  should  be  bolted  and  firmly 
fixed  vertically  a  strong  iron  bar,  about  the  height  of  a 
man,  and  from  about  six  to  ten  inches  in  circumference, 
according  to  the  weight  of  the  figure.  In  loosely  draped 
figures  it  is  necessary  to  fix  a  vertical  beam  of  wood  to  the 
main  iron  bar  ;  for  though  the  bar  will  keep  the  clay  per- 
pendicularly in  its  place,  it  does  not  keep  the  mass  of  clay 
from  sinking.  We  shall  not  be  surprised  at  this  when  we 
consider  that  the  quantity  used  in  some  figures,  even  of 
the  heroic  size  only,  amounts  to  about  two  tons.  Two 
cross-pieces  of  wood  are  fixed  to  the  main  bar  at  the 
shoulders  and  the  loins,  from  which  the  supports  of  the 
arms  and  legs  must  be  started,  and  a  third  piece  may  be 


MODELING. 


XXXHl 


fixed  in  the  middle  to  diminish  the  weight  of  the  clay. 
The  supports  of  the  legs  must  be  bars,  straight  or  bent, 
according  to  the  position  of  the  legs  ;  but  the  supports  of 
the  arms,  when  not  detached  from  the  body  or  drapery, 
may  generally  be  made  of  twisted  thick  copper  wire, 
small  pieces  of  wood  being  twisted  in  with  it  at  short 
distances,  and  at  right  angles.  The  fingers,  if  separated, 
will  require  similar  care.  The  clay  should  be  built  up 
against  this  complete  skeleton  of  supports,  and  be  suffi- 
ciently strong  not  to  yield  in  the  least  to  the  weight  of 
clay  when  the  model  is  finished.  The  building  up  of 
such  a  skeleton  for  a  figure  of  the  heroic  size  is  often  the 
work  of  a  week  or  more.  The  amateur  should  have  the 
assistance  of  some  one  experienced  in  such  work,  to  con- 
struct the  skeleton  of  supports  for 
him.  If  the  arm  is  to  be  slightly 
elevated  and  detached  from  the 
figure,  the  support  can  be  so  made 
as  to  allow  its  removal  at  pleasure. 
This  will  give  the  sculptor  a  better 
opportunity  to  work  on  the  model 
beneath  the  arm,  and  diminish  the 
risk  of  injury  to  it.  The  contrivance 
necessary  is  a  pipe  or  tube  in  the 
shoulder  support,  which  can  receive 
and  hold  firmly  the  skeleton  support 
of  the  arm  made  of  either  wood  or 
metal. 

The  supports  necessary  for  mod- 
eling a  bust  are  an  upright  piece  of 
wood  with  a  cross-bar  at  the  should- 
ers. A  small  cross-bar  at  the  head, 
or  a  piece  of  lead-pipe,  would  be 
of  service.     (See  Fig.  3991.) 


8. 


HOW  TO  MAKE  A  MOULD. 


We  would  advise  the  amateur  to 
begin  with  the  model  of  a  cast  of 
ornament,  or  of  the  features,  as  easier 
to  experiment  upon  than  a  bust  or 
a  figure,  and  with  less  danger  of 
spoiling  the  work  of  weeks  of  toil. 

Make  a  border  or  wall  of  clay  all  around  the  form.  It 
must  be  half  an  inch  higher  than  the  highest  part  of  the 
figure.  The  model  should  now  be  brushed  with  clay- 
water,  or  soft  soap  and  oil— a  soft  brush  being  used. 
As  the  moisture  or  oil  is  absorbed,  repeat  the  brushing 
with  these  materials.  Now  pour  water  into  a  basin  and  throw 
in  plaster  of  Paris.  Stir  with  a  strong  stick  or  common 
table  spoon.  See  that  the  plaster  does  not  form  in  balls, 
but  is  well  mixed  with  the  water.  The  mixture  must  be 
perfectly  smooth  and  of  the  consistency  of  cream.  The 
basin  should  have  a  lip  to  pour  from.  Pour  rapidly  and 
allow  it  to  spread  over  the  whole  surface.     Shake  or  jerk 


the  model  so  as  to  cause  the  plaster  to  fill  all  the  recesses 
of  the  model.  Clean  the  basin  immediately,  before  the 
plaster  hardens  in  it.  In  about  ten  minutes  the  plaster 
has  "set"  sufficiently  to  allow  the  clay  wall  built  up 
around  the  model  to  be  removed.  Now  level  the  surface 
of  the  plaster  with  a  wire  tool  and  leave  the  mould  until 
the  next  day  when  the  plaster  will  be  found  to  be  hard. 
Carefully  insert  a  broad  and  thin  blade  between  the 
model  and  the  mould,  and  separate  them.  The  mould 
will  be  found  to  be  an  exact  coj)y  of  the  model. 

9.       HOW  TO  MAKE  A  CAST. 

Clean  the  mould  and  allow  it  to  become  thoroughly 
dry  by  placing  it  in  an  oven  over  night  after  the  fire  has 
gone  down,  leaving  the  door  of  the 
oven  slightly  open.  When  the  mould 
is  perfectly  dry,  give  it  two  coats  of 
linseed  oil,  or  more  if  the  plaster  will 
absorb  it.  Build  a  wall  of  clay 
around  the  mould,  or  nail  strips  of 
wood  together  so  that  the  sides  shall 
be  i  of  an  inch  higher  than  the 
highest  part  of  the  mould.  Mix 
plaster  and  cover  the  mould  making 
the  surface  at  the  top  even  with  the 
border  strips.  When  the  cast  is  well 
set,  the  mould  may  be  carefully 
broken  off  in  fragments,  and  the  cast 
exposed,  the  complete  and  finished 
work  of  the  modeler. 

When  a  mould  is  taken  of  the 
bust  in  clay,  it  is  made  in  pieces, 
that  is,  one  part  of  the  bust  is  cov- 
ered with  plaster  at  a  time,  and 
allowed  to  set.  When  these  parts 
or  pieces  are  fixed  and  dry,  the 
whole  may  be  separated  at  the  joints, 
without  any  regard  to  the  preserva- 
tion of  the  clay  model,  for  when  the 
mould  is  complete,  the  model  is  no 
longer  of  any  value.  The  clay  hav- 
ing been  removed,  the  component 
parts  of  the  mould  are  again  put  together,  and  in  place  of 
the  original  clay  it  must  be  filled  with  plaster  of  Paris. 
Only  a  small  quantity  is  at  first  poured  into  the  mould, 
and  shaken  to  allow  the  minute  recesses  to  be  filled. 
The  pouring  of  the  plaster  and  the  shaking  of  the  mould 
is  repeated  a  number  of  times  until  the  plaster  form  is  of 
sufficient  thickness.  The  parts  of  the  mould  are  now 
removed  and  the  perfect  l)ust  is  exposed  to  view. 

"  Many  sculptors  have  their  clay  model  cast  in  plaster 
before  the  modeling  is  quite  finished,  as  they  prefer  to  put 
the  finishing  touches  on  the  plaster  cast, — good  plaster 
being  a  very  easy  and  pleasant  substance  to  work  on." 


XXXIV 


C.  HENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


10.       HOW    A    STATUE    IS    MADE. 

Harriet   Hosmer   describes   the   process  of  making   a 
figure  in  marble  as  follows  :  — 

''  A  vague  idea  prevails  as  to  how  a  sculptor  works  out 
a  statue.  The  truth  is  this  :  The  artist  puts  the  concep- 
tion as  nearly  as  possible  into  a  material  form  by  the  aid 
of  clay.  A  plaster  cast  is  then  taken  of  that.  By  this 
time  deft  mechanics  have  a  block  of  marble,  '  square  and 
out  of  mind,'  in  the  most  perfect  manner.  Then  the  cast 
is  set  alongside,  and  by  means  of  square  and  rule  and  calli- 
pers, the  model  is  copied  point  by  point.  The  mass  is 
hewn  from  the  block  rapidly  until  a  general  outline  is 
reached.  Then  the  mechanic  proceeds  with  more  skill  and 
care,  and  gradually  re- 
duces it  until  the  exact 
image  of  the  original 
model  is  reached. 
Then  a  still  more 
skilful  artisan  under- 
takes it,  and  does  al- 
most marvels  under 
the  artist's  personal 
direction.  At  last  the 
artist  puts  on  the  fin- 
ishing touches,  which 
give  the  individuality, 
the  excellence,  the 
semblance  of  the  per- 
son modeled  after,  or 
which  conveys  the  idea 
that  the  artist  has  fan- 
cied into  creation.  A 
statue,  like  other 
works  of  art,  is  but  a 
vehicle,  as  it  were,  to 
transport  the  tliought 
that  generated  in  the 
artist's  mind,  and  was 
modeled  and  rounded 

into  a  perfection  by  his  perseverance  that  delights  esthetics 
and  others  in  proportion  as  they  understand  it.  These 
finer  touches  can  be  done  by  none  but  the  designer,  for 
he  cannot  instruct  others  what  he  wants.  A  faint  char- 
acteristic, a  delicate  lineament,  a  slight  indication  of  a 
line  will  make  or  mar  by  imparting  an  expression  desired 
or  not.  So  the  artist  must  take  the  chisel,  and  study  and 
carve,  and  carve  and  study  until  the  block  is  the  incarna- 
tion of  the  thing  formulated  in  the  artist's  mind." 

11.       ON  MODELS. 

If  practicable  it  is  always  best  to  make  the  model  the 
size  of  the  intended  figure,  because  an  error  in  the  small 


model  is  multiplied  in  the  larger  figure,  causing  the  sculp- 
tor much  labor  to  rectify  errors  in  the  full-sized  marble 
work. 

Clay  models  can  be  baked  or  allowed  to  dry,  and  then 
used  by  the  sculptor  as  models  to  work  from.  But  clay  in 
drj'ing  shrinks,  and  is  apt  to  crack,  so  that  the  model  does 
not  preserve  its  shape  as  originally  modelled.  The  ancients 
used  terra-cotta  (baked  earth)  figures,  as  also  baked  moulds 
of  clay,  forming  their  casts  by  pressing  clay  into  them. 


12. 


MODEUNG    IN    WAX. 


THE    MODEI-. 


A  beginning  can  be  made  with  some  hand-made  tools, 
a  slate  or  pane  of  glass,  a  lump  of  modeling  wax  and  a 

cast.     Wax  as  a   ma- 
terial is  to  be  prefer- 
red for  certain  kinds 
of  work,  as  it  is  always 
ready    for    manipula- 
tion, clean  to  handle, 
and  adapted  to  small 
work;    in  this  mater- 
ial work  can  be  carried 
on  throughout  the  en- 
tire year  without  dan- 
ger   of    spoiling    the 
piece  by  exposure  to 
cold,  or   from  want  of 
proper    attention    on 
the  part  of  the  learner, 
as  would  be  the  case 
in      clay     modeling.* 
Modeling  wax  can  now 
be  obtained  at  a  price 
that  brings  it  within 
the   reach  of  all,  and 
the  same  piece  can  be 
repeatedly  used  with- 
out its  deteriorating  in 
quality. 
The  first  exercises  in  the  manipulation  of  this  material 
are  in  rolling,  pressing  or  molding  the  geometrical  solids, 
using  the  hands  only.     Simple  objects  based  on  the  geo- 
metrical solids  may  next  be  attempted,  using  the  fingers 
and  the  simplest  tools.     The  amatt^ur  may  imitate  casts  of 
ornament,  fruit,  flowers,   foliage   and   the   details   of  the 
human  figure.     The  form  of  the  object  is  drawn  on  the 
modeling  board,  slate,  tin,  pasteboard  or  glass,  slate  and 
glass  being  preferred.     A  small  piece  of  modeling  wax  is 
rolled  in  the  hands,  giving  it  a  cylindrical  shape  1-16  to 
1-8  of  an  inch  in  diameter,  and  finnly  pressed  upon  the 
slate  following  the  outline  drawn.     The  figure  is  filled  in 

*()n  page  83  we  give  a  description  of  a  new  material  and   its  value  in 
modeling 


AS 


TltEATED       BY   SCULPTOR. 


MODELING. 


XXXV 


in  the  same  manner.  Build  upon  this  foundation  layer 
by  adding  bits  of  wax,  pressing  each  piece  down  firmly 
with  the  finger  or  the  tool.  Keep  a  small  sponge  slightly 
wet,  to  which  the  tips  of  the  fingers  or  the  end  of  the  tool 
can  be  occasionally  applied,  as  this  will  facilitate  the  work. 
Proceed  in  this  manner  until  the  subject  is  finished. 

Modeling  in  wax  was  practiced  in  ancient  times,  for 
there  were  modelers  in  wax  in  Athens  as  well  as  sculptors 
in  marble;  and  in  the  European  museums  are  found 
statuettes  and  medallions  made  by  the  great  artists  of  the 
Renaissance. 

13.      TKRRA-COTTA    IN    THE   ARTS. 

The  use  of  terra-cotta  for  decorative  purposes  in  our 
country  is  quite  recent,  its  manufacture  is  now  one  of  the 
chief  art  industries.  The  country  within  a  radius  of  ten 
miles  around  Perth  Amboy,  N.  J.,  supplies  the  best  clays 
for  that  purpose  in  the  United  States.  There  are 
manufactories  of  terra  cotta  and  of  tiling  for  building  pur- 
poses in  the  A-icinity  of  Boston,  Mass.,  in  New  Jersey,  in 
Ohio,  near  Washington,  D  C,  and  at  Chicago.  Common 
terra  cotta  is  made  of  potter's  and  fire-clays,  mixed  with 
white  sand,  alkalies  and  "  potsherds  "  (i.  e.  old  fire-brick  and 
pottery  pulverized),  which  act  as  vitrifying  elements, 
counteract  excessive  shrinkage,  make  the  ware  harder  and 
keep  the  color  lighter. 

"  We  have  in  the  United  States  begun  to  use  tiles,  both 
glaaed  and  unglazed,  associated  with  brick  and  stone  in 
buildings.  But  these  tiles  are  mainly  imported  from  Eng- 
land and  are  very  expensive,  so  that  they  are  sparingly 
applied,  and  looked  upon  as  a  luxury.  There  is  every 
reason  why  the  production  of  these  tiles,  and  other  manu- 
factures of  terra  cotta  should  be  carried  on  to  an  unlimited 
extent  in  this  country.  We  have  the  necessary  clays. 
They  are  to  be  found  East  and  West.  Skilled  labor  will 
come  with  the  demand  for  it  Perhaps  no  other  art 
industry  has  received  so  great  an  impetus  from  the  splen- 
did Exposition  of  the  works  of  all  nations  at  Philadel- 
phia, as  that  of  pottery.  Tiles  and  other  forms  of  terra 
cotta  can  be  manufactured  at  low  cost,  and  will  be  exten- 
sively used  as  building  material.  The  use  of  terra  cotta  is 
to  be  commended  because  of  its  indestructibility  from 
extreme  heat  or  cold,  and  from  the  chemical  agencies 
which  attack  other  materials.  In  its  condition  as  clay  it 
is  easily  modeled  and  moulded  to  any  shape,  and  would 
serve  a  graceful  purpose  for  cornices,  caps  for  windows 
and  doors,  string  courses  and  so  on.  But  its  adaptability 
to  effects  of  color  commands  our  special  attention.  In 
this  respect  it  offers  limitless  opportunities  for  artistic 
expression.  Color  once  fixed  by  heat  in  the  plastic  clay 
endures  forever.  Color  is  the  grand  objective  of  all  the  arts 
and  industries." — George  Ward  Nkhd.». 


14. 


USE  OF  TERRA  COTTA  IN  ENGLAND. 


"  Most  of  the  old  terra  cottas  have  been  moulded  in 
clay  solidly,  and  then  burnt.  That  is  not  the  best  way  ; 
for  clay  shrinks  in  burning,  and  in  proportion  to  its  thick- 
ness, so  that  a  thin  part  does  not  shrink  as  much  as  a 
thick  part ;  thus  distortion  takes  place. 

"  I  have  seen  a  terra  cotta  which  had  been  burned  for 
two  days,  and  had  only  shrunk  one-sixteenth  of  an  inch  in 
two  feet  in  height ;  and  that  is  practically  nothing.  To 
attain  that  perfection,  two  things  had  to  be  done;  first,  the 
statuette  had  to  be  hollow,  and  all  parts  of  the  same  thick- 
ness, which  was  done  by  first  modeling  the  figure,  taking 
a  mould  of  it,  and  then  pressing  or  squeezing  the  fresh  clay 
into  a  plaster  mould,  after  being  rolled  to  an  even  thick- 
ness of  a  quarter  of  an  inch  ;  second,  the  greater  portion 
of  the  clay  was  composed  of  ground  and  pulverized  burnt 
clay,  in  the  shape  of  common  clay  tobacco-pipes  already 
burnt,  and  which  had  therefore  been  already  shrunk,  so 
that  when  burnt  again  it  did  not  shrink  at  all ;  the  actual 
shrinking  being  in  the  unburnt  clay  necessary  to  bind  the 
particles  together.  The  result  was  imperishable  work, 
clear  and  brilliant,  every  touch  of  the  master's  hand  sharp 
and  perfect ;  and,  with  such  care,  terra  cotta  is  a  beautiful 
material. 

"  It  is  usually  regarded  as  a  material  for  small  things 
only — sketches  and  details  ;  but  I  have  seen  a  life-size 
figure  made  as  I  have  described,  and  burnt  without  a  crack 
or  a  flaw. 

"  The  most  notable  examples  of  the  use  of  terra  cotta  in 
modern  days,  is  in  the  construction  of  the  permanent  por- 
tion of  the  South  Kensington  Museum  in  London.  Every 
fraction  of  the  facade  in  a  sort  of  Venitian-Renaissance 
style,  is  built  of  burnt  earth — ^the  main  body  of  red  brick, 

the  enriched  portions  of  cream-colored  terra  cotta 

The  columns,  which  are  richly  covered  with  figures 
emblematic  of  the  seven  ages  and  of  the  arts  and  sciences, 
in  relief,  are  in  blocks  several  feet  in  length  and  diameter, 
and  the  string-courses  and  mouldings,  and  wherever  the 
main  color  of  red  brick  is  relieved  by  the  lighter  colored 
terra  cotta,  there  are  immense  blocks  of  the  material  as 
straight  and  square  as  worked  stone  ;  while  the  surface  is 
as  hard  as  cast-iron,  non-absorbent,  dead  in  surface,  and 
almost  of  uniform  color;  where  the  color  is  varied,  the 
variety  is  not  so  great  as  in  the  veins  of  white  marble. 

"  Altogether  it  is  a  brilliant  success,  and  it  has  these 
advantages:  the  miserable  climate  and  dense  atmosphere 
of  London  cannot  defile  it,  for  the  surface  is  hard  and 
smooth,  and  every  storm  of  rain,  and  every  gale  of  wind 
remove  impurities  as  they  would  from  a  white  plate;  and 
fog  and  rain  are  not  altogether  unknown  in  the  largest  city 
in  the  world.  I  examined  these  terra  cotta  enrichments 
in  September,  1871,  after  they  had  been  exposed  for  sev- 


XXXVl 


a  HENNECKE  CO.,  MILWAUKEE  AND  OHIO  AGO. 


eral  years,  and  they  were  as  fresh  as  on  the  day  of  their 
erection;  whilst  stone  work  that  had  been  up  as  long  was 
as  black  as  the  inside  of  a  chimney. 

"  The  clear  atmosphere  of  this  country,  and  the  absence 
of  a  plethora  of  mill-chimneys,  do  not  so  loudly  call  for 
permanent  and  cleanly  decorations  of  buildings  as  London 
and  Manchester  do  in  the  old  country;  yet,  here  as  there 
they  would  be  an  honest  and  pleasing  ornament, — art  work 
and  hand  work,  fresh  and  eternal." — Walter  Smith. 

1-5.       PERMANENCY    OF   TERRA  COTTA. 

"  Encaustic  tiles,  which  are  another  form  of  terra  cotta, 
display  every  color  known  in  art,  except  gold  and  silver; 
and  their  colors  no  possible  condition  of  the  atmosphere 
can  destroy.  Even  when  the  earth  is  consumed  with  a 
fervent  heat,  these  tiles  and  the  Greek  vases  will  be  left 
behind  us  as  a  permanent  record  of  past  civilizations. 
You  may  reduce  all  the  pictures  of  the  world  to  tinder; 
melt  all  the  bronze  statues  until  they  run  in  the  gutters; 
calcine  the  marble  statues  into  plaster  of  Paris;  burn  all 
the  Ijuildings  into  lime,  and  all  animal  creatures  and  vege- 
tation into  ashes;  and  all  this  while  terra  cotta  will  glow 
red-hot,  and  remain  uninjured,  and  cool  down  again  into 


the  shape  we  fashioned  it.  It  is  the  noblest  of  all  vehicles 
for  the  expression  of  art.  It  may  be  difficult  to  decide 
what  else  it  is  we  do  which  would  be  even  comparatively 
permanent  in  any  great  universal  shock  or  a  relapse  into 
barbarism." — Walter  Smith. 

16.       USES    OF   TERRA  COTTA    IN    THE    UNITED   STATES. 

In  this  country  fine  examples  of  architectural  enrich- 
ment in  terra  cotta  are  found  in  the  buildings  of  the 
Brooklyn  Historical  Society,  the  Produce  Exchange,  Cotton 
Exchange,  and  Lawrence  Building,  of  New  York;  the 
Broad  Street  Station  of  the  Pennsylvania  Railroad  in 
Philadelphia;  the  State  House  at  Trenton,  N.  J.;  the 
Boston  Museum  of  Fine  Arts;  the  New  Pension  Building 
in  Washington;  the  Pennsylvania  Museum  and  School  of 
Fine  Arts,  Philadelphia;  the  Metropolitan  Museum  of  Art 
and  the  Stanton  Street  Baptist  Church,  NewYork. 

Much  valuable  information  about  this  branch  of  in- 
dustry and  its  growth  in  the  United  States  can  be  found 
in  Mr.  Isaac  Edwards  Clarke's  fourteenth  paper  on  Art  and 
Industry  entitled  The  Present  Outlook.  These  papers  form 
a  part  of  the  large  and  valuable  report  on  Eduaitimi  in  the 
Industridl  and  Fine  Artg  in  the  United  States  pul)lished  by 
the  Government  Bureau  of  Education. 


Uiii^       ^i;£[^JiiJ^; 


BY    LORADO   TAFT,   SCULPTOR,   INSTRUCTOR   IN    CLAY    MODELING,    CHICAGO    ART    INSTITUTE. 


''  I  HE  tools  and  materials  required  for  amateur  sculp- 
A  ture  are  so  simple  and  inexpensive  that  any  one 
possessing  a  taste  for  art  work  can  aff'ord  to  make 
the  experiment.  Three  or  four  small  sticks  of  hard 
wood  properly  flattened  and  curved,  a  wire  tool 
(made  of  a  pencil  and  a  hairpin  if  necessity  requires), 
and  a  handful  of  modeling  clay  or  modeling  wax.  Here  is 
your  outfit  for  making  medallions  and  small  reliefs.  For 
larger  work,  more  clay  is  needed. 

One  of  the  great  charms  of  this  study  is  the  pleasant 
Burjjrise  that  comes  to  each  one  who  finds  that  he  really 
can  do  something.  In  modeling,  this  surprise  is  not  re- 
served alone  for  those  who  have  become  proficient  in  draw- 
ing. Although  the  highest  success  in  sculpture  is  vouchsafed 
only  to  the  student  whose  eye  has  been  thoroughly  trained 
in  drawing  from  casts  and  from  life,  my  experience  with 
pupils  has  led  me  to  recognize  the  fact  that  many  entirely 
untrained  in  that  direction  are  gifted  naturally  with  a 
correctness  of  vision  and  a  sense  of  proportion  which 
enables  them  to  execute  speedily  both  pleasing  ideal 
heads  and  striking  likenesses  of  friends. 

The  explanation  is  here, — and  herein,  too,  lies  the 
reason  why  clay  modeling  should  precede  in  the  child's 


education,  the  use  of  pencil  and  paper, — in  the  drawing  we 
have  at  best  but  a  translation  of  the  object.  The  problem 
of  flattening  a  visible  solid  on  to  paper  and  representing 
all  its  relief  and  irregularities  by  the  thickness  of  a  pencil 
line,  is  not  the  simplest  thing  in  the  world.  The  picture 
is  another  language,  a  conventionalization  of  an  idea.  The 
reproduction  in  relief  is  an  infinitely  simpler  process. 
Whatever  the  older  student's  advantages  in  manual  dexterity 
and  training  of  the  eye,  even  the  youngest  can  see  or  may  be 
made  to  understand  that  a  cube  is  square  in  all  directions 
and  a  globe  round,  all  'round.  I  have  discovered  that 
some  full  grown  people  of  average  cerebral  capacity  can 
never  succeed  in  understanding  those  retreating  lines  in 
the  perspective  drawing  of  a  cube,  or  having  once  learned 
their  radiating  design,  will  persist  in  drawing  all  cubes  by 
the  same  formula,  exactly  alike,  whatever  their  point  of 
view. 

It  is  astonishing  how  many  things  we  think  we  know,  and 
yet  do  not !  That  is,  we  do  not  know  definitely,  when  put 
to  the  test.  Facts  of  science,  events  of  history,  with  which 
we  fancy  ourselves  perfectly  familiar,  become  most  exas- 
peratingly  Will-o'-the-wisps  when  we  try  to  give  a  detailed, 
connected  account. 


CLA  T  MODELING. 


XXXVll 


The  same  experience  awaits  the  beginner  in  art  work. 
He  may  imagine  that  he  knows  what  an  ear  is  like,  or  a 
mouth,  but  even  with  the  model  in  view  a  few  minutes' 
attempt  generally  satisfies  him  that  "  making  faces,"  is  not 
all  fun.  More  than  a  few  have  surrendered  before  a 
simple  model  of  a  nose,  wliile  the  intricacies  of  the  human 
ear  invariably  bring  despair  and  crushing  defeat.  Of 
course  all  succeed  in  getting  something  of  a  semblance. 
You  can  tell  which  is  "which."  Yet  the  teacher  if  churlish 
could  truly  say,  there  is  nothing  right  about  them.  The 
backward  incline  of  the  plane  or  axis  of  the  eye,  those  firm 
buttresses  of  flesh  that  support  the  lower  lip,  the  strong 
bony  foundation  revealing  itself  in  the  jaw,  and  giving 
character  to  the  forehead;  the  broad,  full  muscular  forms 
everywhere  blending  into  each  other,  but  never  scooped 
out  into  a  concave;  the  little  accents  here  and  there  mark- 
ing interstices  between  the  muscles  or  cords  and  tendons; 
the  thousand  and  one  things  that  a  sculptor  sees  in  a  good 
cast,  are  generally  overlooked  and  always  imperfectly 
rendered,  because  the  pupil  either  does  not  see  them  at  all 
or  does  not  recognize  their  importance. 

Believing  that  there  is  nothing  quite  so  valuable  as 
definite  knowledge,  and  working  upon  the  principle  that 
when  a  pupil  has  become  familiar  with  the  different  por- 
tions of  the  face,  he  can  put  them  together,  I  generally 
begin  with  large  casts  of  the  individual  features;  the 
mouth,  nose,  etc.  If  one  be  so  fortunate  as  to  have  good 
clear-cut  models,  he  will  be  able  to  work  with  jjrofit  on  one 
of  these  features  as  long  as  he  might  otherwise  on  an  entire 
face.  Very  often  the  teacher  will  hear,  "  I  don't  see  any- 
thing more  to  do,"  when  he  himself  can  see  as  yet  hardly 
anything  done. 

One  of  my  favorite  models  for  beginners  is  an  eye,  cast 
full  size  from  Michel  Angelo's  colossal  David.  I  never 
look  upon  that  mighty  translation  of  nature  without  a 
feeling  of  awe.  It  is  a  privilege  to  trace  the  master's  very 
touch  in  the  finn  forms  of  those  eyelids  and  of  the  imper- 
ious brow.  There  are  several  other  casts  from  the  same 
head,  all  valuable  for  the  first  month's  practice, — and  for 
reference  every  succeeding  month. 

About  this  time  the  budding  Praxiteles  aspires  to  make 
a  medallion  of  some  revered  grandma  or  to  model  a  bust 
of  a  baby.  In  extreme  cases  there  may  be  a  whispered 
wish  to  "try  the  marble."  My  own  pupils  are  always 
recommended  to  wait,  but  for  the  self-instructed  student 
there  is  no  escape,  and  a  great  deal  of  time  will  be  wasted 
on  impossible  copies  of  retouched  photographs,  and  on  car- 
icatures of  unhappy  babies  with  the  secret  of  perpetual 
motion  in  their  little  necks.  Better  wait  until  you  are  sure 
of  your  touch  before  attempting  these — to  you  now — im- 
possibilities. Whatever  the  friends  say,  the  work  cannot 
be  good  until  you  have  some  idea  of  the  construction  of  a 
head.  You  may  not  kiU  the  baby  model  but  you  are  sure 
to  ruin  your  temper. 


The  process  of  modeling  is  theoretically  just  the  reverse 
of  carving.  The  marble  cutter  releases  the  head  or  figure 
from  the  block,  always  cutting  away  until  he  comes  to  it. 
The  modeler  constructs — builds  up;  always  adding  on, 
and  only  cutting  into  the  clay  for  the  little  accents  which 
give  color  to  his  work.  For  this  reason  the  development 
of  the  copy  should  almost  reveal  a  cellular  growth.  As  it 
is  impossible  to  form  that  eyebrow  (of  the  head  of  David)  at 
one  stroke,  we  must  first  build  up  the  larger  masses,  rudely 
indicating  the  form  but  aiming  to  accurately  render  the 
size  and  general  slope  ;  finding  the  highest  and  the  lowest 
points  regardless  of  eyelids,  et(!.  Then  having  everything 
located,  the  work  of  finishing  and  adding  on  the  little 
pellets  of  clay  which  give  the  subtler  curves  and  accents, 
will  be  an  easy  matter.  The  eyelids  are  fomied  of  a  string 
of  clay  rolled  between  the  thumb  and  fingers  and  carefully 
placed,  then  flattened  with  a  tool. 

It  is  the  same  old  story  ;  "  masses  first,  then  details  " — 
the  foundation  of  all  art  instruction,  yet  something  so 
incomprehensible  in  its  application,  to  the  beginner. 

Take  another  example,  a  mask  of  the  Venus  de  Milo. 
If  you  have  had  no  experience  with  the  clay,  we  will  sim- 
plify the  problem  for  you.  Lay  the  mask  on  your  modeling 
board  and  mark  around  it.  Place  it  beside  the  outline,  an 
inch  or  two  away  and  exactly  parallel  with  it.  Take 
your  clay — as  soft  as  possible  without  being  sticky — and 
fill  the  enclosure  of  the  pencil  mark.  You  will  hardly 
need  to  use  compasses  to  measure,  because  the  model  and 
your  copy  being  side  by  side,  you  c;an  trace  imaginary 
parallel  lines  back  and  forth  from  one  to  the  other,  locating 
the  eyebrows,  the  length  of  the  nose,  etc.  If  your  untrained 
eye  needs  still  further  guarantee,  take  a  straight  stick,  and 
lay  fi-om  one  to  the  other,  keeping  it  parallel  with  the  edge 
of  the  board.  It  will  serve  the  same  purpose  as  the  archi- 
tect's T-square,  which  sliding  over  the  drawing  to  be  copied, 
locates  at  the  same  time  the  lines  of  the  new  drawing. 
Your  improvised  T-square  will  help  you  also  to  fix  the 
heights  of  your  relief.  Step  back  from  the  table  and  kneel- 
ing, sight  across  your  work  ;  if  it  is  closely  correct  in  thick- 
ness, lay  the  stick  across  from  the  brow  or  nose  of  the  one 
to  the  other  and  mark  the  slight  difference  in  height. 

Mind,  you  can  not  do  too  much  looking,  if  only  it  be 
done  intelligently.  Look  at  your  work  fi-om  across  the 
room;  put  the  board  on  the  floor,  or  stand  on  a  chair  and 
look  down  upon  it;  view  it  from  every  possible  direction, 
but  always  keep  the  model  close  to  it  and  with  exactly  the 
same  side  towards  you.  Endeavour  to  make  the  two 
silhouettes  agree;  when  they  do,  from  every  side,  the  work 
is  done. 

You  may  object  that  this  is  all  very  mechanical,  this  use 
of  compasses  and  stick.  I  can  only  say  that  you  will  never 
approach  to  perfect  work  without  measuring.  The  greater 
the  artist  the  more  measuring  and  comparing  he  does.     A 


XXXVIU 


C.   nENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


good  deal  of  it  has  become  almost  intuitive  to  be  sure,  and 
you  do  not  see  it  done,  but  the  height  and  In-eadth,  the  "  num- 
ber of  heads,"  etc.,  are  seized  upon  at  the  first  glance  by  the 
masters  of  drawing  and  sculpture  Nor  do  they  disdain  to 
measure  with  the  pencil  or  charcoal  stick.  It  is  the  hardest 
work  to  get  our  students  to  use  the  plumb-line,  while  those 
marvelous  draughtsmen  of  Paris  would  dispense  with  their 
charcoal  or  paper  as  readily  as  with  the  plumb-line. 
Michel  Angelo  would  never  have  had  the  "  Compasses  in 
the  eye "  had  he  not  known  full  well  their  use  in  the 
hand. 

Vary  the  work  occasionally  with  a  study  of  some  other 
part;  a  hand  or  a  foot,  or  if  your  taste  so  incline,  witli  a 
bit  of  decorative  modeling,  foliage  and  conventional  designs. 

Next  comes  the  making  of  busts.  The  equipment  re- 
quired is  still  so  simple  that  "  Every  Man  His  Own  Bust- 
Maker  "  might  doubtless  become  a  familiar  announcement 
if  only  every  man  could  see  straight. 

An  upright  stick  an  inch  or  two  in  thickness  securely 
nailed  to  a  small  plank,  is  required.  Through  the  upper 
end  two  small  pegs  or  spikes  are  driven  at  right  angles  to  each 
other.  About  half  way  down  a  cross-piece  of  wood  is  nailed. 
This  to  support  the  clay  shoulders.  Soft  clay  is  pressed 
around  the  upper  end  of  the  stick  and  between  the  spikes, 
forming  the  nuc4eus  of  the  head.  Cover  the  shoulder 
braces  in  the  same  way.  Let  this  harden  somewhat  and 
you  have  a  strong  foundation  for  the  bust.  Now  with  soft 
clay  continue  to  fill  in.  If  uncertain  as  to  the  pose  of  the 
head,  do  not  let  the  interior  cliiy  harden  before  adding  on, 
and  you  will  be  able  to  twist  it  into  shape.  In  copying  a 
bust  however  there  is  no  question  as  to  pose,  and  the  work 
is  more  secure  with  a  solid  core. 

If  you  have  succeeded  with  the  masks,  and  have  done 
enough  of  them,  you  will  have  no  trouble  with  the  bust 
The  work  will  have  become  play.  Remember  always  to 
keep  your  model  and  copy  close  to  each  other  and  on  the 
same  level.  Compare  them  constantly  and  do  a  deal  of 
walking  about. 

As  to  plaster  casting,  you  are  bound  to  lose  your  first 
work  anyway  and  to  vow — momentarily — never  to  touch  it 
again,  so  I  shall  not  render  myself  responsible  for  any  of 
these  woes  by  giving  directions  that  cannot  be  understood. 
There  is  nothing  simpler  than  casting  when  once  you  know 


how,  and  nothing  more  risky  for  the  amateur.  The  best 
plan  is  to  experiment  on  unfinished  bits  vmtil  you  are  sure 
of  your  process. 

The  mounting  of  figures,  their  proportions  and  con- 
struction are  too  weighty  and  difficult  matters  to  discuss 
within  these  limits.  As  a  hermit  inventor  may  spend 
years  over  some  ingenious  device  only  to  find  it  long  since 
patented  and  in  use,  so,  many  of  our  homfe-made  sculptors 
give  themselves  a  world  of  unnecessary  toil.  A  few  months 
in  a  good  art  school  would  have  taught  them  to  do  easily 
and  well  what  they  have  poorly  accomplished  after  months 
of  labor  and  many  disappointments.  There  is  a  great  deal 
of  difference  between  good  and  bad  work,  and  where  the 
means  for  conscientious  study  are  offered  there  is  no 
excuse  for  viewing  bad  work  c^omijlacently,  whether  it  be 
our  own  or  that  of  others. 

And  now  a  word  about  original  composition.  One  of 
the  most  frequent  remarks  that  I  hear  from  pupils  is,  "  I 
never  can  compose  ;  I  have  no  originality  about  me." 
There  is  a  bare  possibility  that  this  may  prove  true  in  your 
Ciise,  but  neither  you  nor  I  have  any  right  to  say  it  now. 
You  have  no  idea  what  you  can  do  until  you  have  given 
yourself  a  fair  chance.  That  yt)U  are  uualde  to  make  a 
.satisfactory  composition  at  i>re.sent  we  may  both  concede. 
Neither  can  you  write  a  story  in  Russian,  but  it  ma}'  be- 
cause you  do  not  know  the  words  of  that  strange  tongue. 
When  we  have  learned  the  language  of  art,  then  we  will 
begin  to  con»sider  our  story.  The  average  artist  is  so  busy, 
however,  with  the  language,  that  he  forgets  all  about  the 
story  and  talks  nonsense.  The  true  artist  is  scholarly  in 
his  tastes,  a  man  who  reads  luid  enjoys ;  who  reverences 
truth  wherever  found  and  loves  beauty  wherever  revealed. 

The  aspirant  who  finds  that  he  has  a  hand  steady 
enough  and  an  eye  clear  enough  to  learn  to  draw,  who  will 
carry  on  his  other  studies  at  the  same  time,  with  the  same 
interest,  possesses  the  qualifications  of  an  artist  and  need 
not  fear.  As  he  grows  familiar  with  the  figure  and  ad- 
vances in  the  study  of  expression,  his  reading  will  liring 
clearer  pictures  before  his  mind's  eye.  Bj'  the  time  that 
he  is  able  to  give  them  form  they  will  have  grown  so  vivid 
that  he  has  but  to  transfer  them  to  the  canvas  or  the  clay. 
They  will  have  become  his  real  comrades,  and  their  gentle 
companionship  a  source  of  great  happiness. 


^z  Bz^z^wmsri  1)2  ^z  Urn 


^z^ 


BY   JOSEPHINE   C.    LOCKE,    CHICAGO. 


el      Of 


'  IKST  in  time  and  order  i?  the  body  of  tlie  vessel, 
of  which  the  leather  bottle   used   to  carry   water 

?  across  the  desert,  and  the  most  primitive  household 
utensils  that  held  litjuids,  supply  the  earliest  sugges- 
tion. Egyptian  vases  and  the  ordinary  earthen  vessels  of  the 
e.arly  historic  periods  were  rather  globular  in  form.  It 
remained  for  Greek  refinement  and  love  of  free  bold  curves 


Fiy.  2. 


Fig.  ?,. 


to   transform  the  less  pleasing  spherical  outline  into  the 
more  subtile  forms  of  ellipsoid  and  ovoid.     Figs.  1,  2  and  3. 
The  parts  of  the  most  highly  developed  vase  are:  body, 
mouth  or  rim,  neck,  foot  or  liase,  handles,  spout. 
A.  Globular, 


Body  of  Vessel      B.  Elliptical,  ,  oblong  Ovoid. 

(C.  Ovo.d,  .  •  I  Broad  Flat  Ov.id. 
The  Greek  Amphorae,  Diogenes  famous  tub  included, 
were  baSed  on  the  broad,  flat  ovoid. 


\ / 


w 


Fig.  1. 


Fig.  4. 


The  mouth  or  rim  was  distinguished  by  the  character 
of  its  edges.  These  were  sometimes  concentric  as  in  Figs.  4 
and  5,  sometimes  beveled  outward  as  in  Fig.  6,  sometimes 
rounding  as  in  Fig.  7.  Gradually  the  neck  was  intro- 
duced bringing  additional  height  and  grace  to  the  vessel  by 


increasing  its  complexity  both  of  proportion  and  outline. 

The   primitive  thought    of  raising    a   fiat    vessel  by 

sliding  a  block  of  any  kind  under  it,  or  by  setting  it  in  a 


Fig.  5. 


Fig.  (i. 


ring  of  clay,  naturally  suggested  the  elevation  of  the  same 
by  means  of  a  foot  or  base,  which  in  its  growth  followed 
nmch  the  same  genesis  as  the  mouth..  We  have  in  Fig.  8, 
the  simple  plinth,  a  section  of  a  cylinder;  Fig.  9  the  same 
but  outlined  by  curves  curving  outward;  Fig.  10  the  same 
beveled  outward,  and  finally  the  double  base  bounded 
by  the  reversed  curve  Fig.  11. 

The  development  of  the  foot  or  base  is  purely  Greek 
and  originated  partly  in  the  custom  of  carrying  the  vessel 
upon  the  head,  and  partly  in  the  character  of  the  climate, 
a  rainy  atmosphere.   Water  was  received  from  above,  hence 


Fig.  7. 


Fig.  8. 


the  vessel  had  to  be  made  so  as  to  stand.  In  Egypt,  where 
the  climate  was  dry,  water  was  obtained  by  the  lowering 
of  a  vessel. 

The  Egyptian  water  vessel  is  usually  pointed  at  the 
base,  and  sometimes  one  handle  suffices,  extending  over  the 
entire  mouth.  In  Greece  the  handle  was  not  only  used  as 
a  matter  of  convenience  and  necessity,  but  also  to  secure  a 
more  pleasing  proportion  and  balance.  Frequently  vessels 
were  supplied  with  double  handles,  one  pair  for  use  and 
another  for  the  purpose  of  harmony,  balance  or  contrast. 

The  last  and  final  addition  was  the  spout  or  pouring 
mouth,  leading  to  the  modem  pitcher.  In  the  earlier 
vessels  this  was  very  small;  sometimes  two  or  three 
were  used;  often  the  handles  were  altogether  omitted, 
but  more  usually,  wherever  the  spout  is  found,  one  or  more 
handles  also  exist. 

OF  'l^HE 
CALIFOB^^  ^ 


xl 


C.  HENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


It  will  be  seen  that  the  addition  of  each  of  these  parts 
taxed  more  and  more  the  ingenuity  of  the  workman  and 
called  for  nicer  and  more  delicate  balance  of  proportions ;  but 


Fig.  i)A. 


Fig.  <JB. 


the  body  of  the  vessel,  however,  remained  the  chief  object  of 
concern;  to  it  all  the  other  parts  were  subordinated;  it  was 
the  principal  part  while  the  accessories  only  enhanced  its 
use  or  its  beauty. 

Now  in  teaching,  this  thought  must  be  borne  in  mind, 
and  the  body  of  the  vessel  first  carefully  studied,  both  as 
to  the  character  of  its  profile  curve  and  the  proportion  of 
its  height  and  width. 

Such  good,  clean  curves  as  the  Greeks  used  cannot  be 
obtained  by  piecing  or  patching.  To  draw  the  outline  of  a 
Greek  vase  with  expression,  one  must  draw  with  a  free 
shoulder  movement  and  lay  in  the  entire  body  of  the  vessel 
with  one  sweep  of  the  pencil,  then  add  the  other  parts.  It 
is  only  when  the  worker  has  a  clear  mental  picture  of  the 
underlying  type  form  that  his  result  will  show  feeling  and 
thought.  The  proportions  of  the  base  and  neck  to  the 
body  of  the  vessel  depended  altogether  upon  the  purpose 
for  which  the  object  was   intended;  the  use  of  the    vase 


invariably  came  first  and  decided  its  construction,  and 
to  this  the  ornamentation  was  subordinated.  So  it  should 
be  in  all  modern  works;  Nothing  is  good  in  construction 
that  weakens  or  interferes  with  the  use  of  the  object.  The 
use  determines  the  construction,  and  the  construction  in 
its  turn  determines  the  nature  of  the  ornamentation. 

Learn  irom  the  history  of  the  Greek  vase  the  following: 

I. — Similar  ideas  proceed  from  similar  conditions,  as 
evinced  in  the  likeness  between  early  Greek  and  archaic 
pottery. 

II. — Study  of  form  precedes  the  study  of  color. 

in. — There  is  an  order  of  growth — -a  develojiment  in 
pottery  and  the  useful  arts  in  the  past  has  ante-dated  a 
development  in  architecture,  sculpture  and  the  fine  arts 
(or  painting). 

IV. — The  causes  which  led  to  the  fall  ol  the  nation, 
led  also  to  the  deterioration  of  its  art;  i.e.  the  degeneration 


of  the  viise  as  evinced  by  its  poor  construction  and  its 
profuseness  of  ornament  preceded  the  political  and  social 
degeneration  of  the  people. 


Mm 


BY   CHAS.    F.    ZIMMERMANN. 


T"  N  the  following  brief  essay  it  is  impossible  to  give  a 
f(P|  history  of  the  development  of  the  ceramic  arts  in 
JL     the  great  nations  of  antiquity  ;  we  shall  rather  con- 

?fine  ourselves  to  a  consideration  of  the  pottery  of 
the  Greeks,  whose  works  show  the  greatest  excel- 
lence among  all  the  oriental  nations.  When  the  beauty 
and  simplicity  of  the  forms  of  their  vases  is  considered,  we 
must  acknowledge  them  as  models,  even  when  we  apply 
our  standard  of  excellence.  The  decoration  of  the  vase, 
and  the  painting  of  story  on  it,  have  become  a  source  of 
information  to  us  in  regard  to  the  mythology,  history  and 
customs  of  the  people.  Of  the  20,000  Greek  vases  in  the 
different  museums  of  the  world,  the  variety  is  almost  as 
great  as  the  number.  They  may  be  classified  as  relating 
to  mythology,  to  the  heroic  age  and  early  Greek  history, 
to  known  history,  and  to  the  manners  and  customs  of  the 
people. 


Archaic  Greek  pottery  was  of  coarse  clay,  and  being 
made  by  hand  the  forms  were  undecided  ;  it  was  orna- 
mented by  points,  zigzags,  spirals  and  knobs.  But  though 
made  in  this  coarse  manner,  we  can 
already  trace  at  an  early  period,  pot- 
tery that  was  more  defined  and  with 
more  symmetry.  The  ornamentation 
consisted  of  winged  horses  and  lions 
— the  forms  being  pressed  into  the 
clay  as  a  flat  ornament.  We  next 
find  leaves  and  flowers  treated  with 
a  delicate  idealizing  conventionalism ; 
the  vine,  the  ivy,  the  anthemion, 
masks  and  festoons  being  used.  No 
wheel  was  used  at  first.  The  Greeks  trusted  to  their  touch 
which  was  more  delicate  than  the  technical  accuracy  of  a 
machine.      In  Asia,  the  potter's  wheel  had   long  been 


Fig.  1.  Egyptian  potter  mould- 
ing a  vessel  on  the  wheel.  From 
a  painting  in  a  tomb  at  Thebes 
about  1800,  B.  C.  (Illustration 
from  Eneyclopedia  Britannlea. 


GREEK  POTTER  Y. 


xli 


Fig.  2.  The  potter's  wheel  of  the 
time  of  the  Ptolemies,  moved  by  the 
foot.  From  a  wali  relief  at  Pnilae. 
(Illustration  from  Encyclopedia 
Britannica.) 


known,  but  the  forms  of  pottery  in  the  oriental  nations 
remained  stationary.  But  when  the  wheel  was  introduced 
into  Greece,  it  brought  a  new  spirit  into  the  handicraft  of 
the  potter. 

The  potter's  wheel  was  in  use  in  Egypt  long  before  it 
was  used  by  the  Greeks.  The  application  of  a  circular 
table  or  lathe,  placed  horizontally  and  revolving  on  a 
central  pivot,  was  a  great  advance  in  the  art.  As  the 
wheel  spun  round,  the  clay  could  be  fashioned  into  all  the 
combinations  of  oval,  spherical  and  cylindrical  forms. 

After  the  wheel  was  introduced,  a  better  kind  of  clay 
was   used  and  a  more  uniform   color   produced.      They 

made  cups,  pots,  flasks,  etc.,  all 
being  black  in  color.  Some  are 
slightly  ornamented  with  yel- 
lowish, or  white  spots,  or  with 
simple  lines  drawn  all  around 
the  vessel. 

The  Greeks  claimed  the  in- 
vention of  images  in  pottery. 
The  story  of  Boutades,  or  Dibu- 
tades,  is  related  on  page  xxx. 
But  long  before  Dibutades  was 
l)orn,  Phoenicia  had  been  mak- 
ing great  and  small  images  of  pottery;  and  for  a  thousand 
years,  Egypt  had  produced  figures  of  gods,  men,  and  ani- 
mals, in  unglazed  pottery,  or  adorned  with  exquisite 
enamel. 

The  ornamentation  of  vases  continued  to  improve,  the 
paintings  of  animals,  monsters  and  men  being  restricted 
to  the  bulge,  the  rings,  meanders  and  floral  ornamenta- 
tions marking  the  ujjper  and  lower  parts  of  the  vessel. 
At  a  later  stage  we  clearly  recognize  incidents  before 
the  walls  of 
Troy.  TheHel- 
enic,  or  classic 
style  of  Greek 
pottery,  based 
on  the  Archaic, 
shows  great  im- 
p  r  o  V  e  m  e  n  t  s . 
The  paste  is 
harder,  finer 

ana  well  glazed.  f.,g  3  votive  tab'et  from  Corinth,  full  size.  A  potter  apply- 
rry-t  1         •        inK  painted  bands  while  the  vessel  revolves  on  the  wheel.    (111- 

Ine        red        is     ustratlon  from  Encyclopedia  Britannica.! 

bright,  the  black  without  spots.  The  figures  are 
painted  with  great  anatomical  accuracy.  The  Greek 
potters  vied  with  the  sculptors  and  painters  in  the  pro- 
duction of  beautiful  works.  The  decoration  consisted  of 
beautiful  combinations  of  frets  and  garlands,  heroes,  war- 
riors, gods  and  goddesses.  During  the  middle  of  the  fifth 
century,  B.  C,  when  marble  was  introduced  in  architec- 
ture, and  ivory  in  sculpture,  we  find  highly-colored  and 


richly-decorated  vases.  The  colors  used  were  red,  violet 
and  yellow  oxides  of  iron.  This  polychromatic  treatment 
is  seen  on  some  of  the  smaller  vessels  and  vases  known  as 
the  lekythus,  and  on  saucers  of  large  dimensions.  The 
outside  has  red  figures  on  black 
ground,  and  the  inside  has 
colored  figures  on  white 
ground.  The  jjainting  was 
usually  done  by  an  artist,  but 
frequently  the  potter  had  ar- 
tistic ability  and  decorated  his 
own  wares.  In  contemplat- 
ing the  beautiful  products  of 

the      Greek      potter,      we     must         FIk.  l.     From  a  Venetian  wood  cut  ot 
^  '  the  middle  of  the  I6th  century;  shows 

remember    that    the    drawing    ^X^%^^l"'^,,r^t^r:^LX^ 

,  wheel   by  means    of    the  lower    foot- 

was  done  upon  the  moist  clay,  "■■•"<"'  <•'«''• 
requiring  great  freedom  of  touch  and  unhesitating 
decision;  no  mark  once  made  could  be  erased;  the  com- 
plete line  was  to  be  traced  without  taking  off"  the  brush. 
The  vases  were  painted  in  an  upright  position,  and  the 
eye  ol  the  artist  was  his  only  guide. 

CLASSIFICATION    AND   DESCRIPTION    OK   THE   VASES    OF 
ANTIQUITY. 

The  following  classification  is  l)y  Dennis,  in  his  book 
on  Cities  and  Cemeteries  of  Etriiria  ;— 

Class  I.    Vases   for  holdinfj  wine,  oil,  or   water — amphora, 
pelice,  staimios. 

Vases  for  carrying;  water — hi/<irta,  calpw. 
Vases  for  mixing  wine  and  water — crater,  ceUhe, 


Vases  for  pouring  wine,  etc. — (tnochoe,  olpe,  pro- 


-lecythus,  alaha- 


Class  II. 

Class  III. 
oxyhaphon. 

Class  IV. 
chous. 

Class  V.  Vases  for  drinking — cantharris,  cyathus,  carchesian, 
holcion,  scyphus,  cylix,  lepaste,  phiale,  ceras,  rhyton. 

Class  VI.    Vases  for  ointments  or  perfumes- 
stron,  asms,  homhylios,  aryhallos,  cotyliscos. 

Pithos.  The  largest  object  made  by  the  Greek  potter  was 
the  pithos.  It  was  conimon  also  among  the  Egyi>tians  and 
Romans.  The  pitlios  served  the  purposes  of  a  cellar,  for  in  it 
were  stored  wine,  oil,  or  corn.  It  was  made  of  coarse  clay,  had 
little  decoration,  and  of  a  size  large  enougli  for  a  man  to  sit  in. 
Diogenes  lived  in  such  a  tub.  It  had  no  handles.  It  was  usually 
buried  in  the  ground  up  to  its  neck. 

Amphora.  Tlie  aiiijiliora  was  less  in  size  than  the  pithos. 
It  was  usually  of  moderate  size,  but  some  were  more  than  five 
feet  high.  The  amphora  was  filled  from  the  pithos.  It  was  used 
for  wines,  oils  and  fruits.  Two  handles  were  arranged  on  the 
neck.  The  common  form  of  the  amphora  was  pointed  at  the 
foot,  which  was  placed  in  the  sand.  The  later  forms  show  a 
ring  or  base  in  whicli  it  stands.  Figs.  3965,  396().  Tliere  is,  how- 
ever, a  great  variety  of  forms.  The  amphora  highly  prized  for 
its  beauty  is  the  kind  called  the  Panathenaic  ampliorse,  given 
as  prizes  at  tlie  Greek  games.  Figs.  3960,  3961 ,  3963.  Tlie  amphorBe 
were  sometimes  used  as  cinerary  urns  and  sometimes  as  coffins, 
being  opened  lengthwise  to  receive  the  corpse.    Among  Greeks 


xlii 


C.  HENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


and  Romans  the  amphora  was  used  as  a  standard  measure  of 
capacity.  The  Attic  ampiiora  contained  nearly  nine  gallons; 
the  Roman  about  six. 

Police.  A  wine  jar  distinguished  from  the  amphora  by 
narrowing  ujnvards  towards  the  mouth. 

Stamnos.  A  jar  used  for  mixing  wines  for  the  table  by  the 
ancients.  It  has  been  happily  described  as  "  a  high-shouldered, 
short-necked,  plethoric  vase." 

Hydria.  A  water-jar  used  for 
culinary  purposes  or  drinking.  It 
was  of  large  capacity,  seldom 
moved,  and  was  filled  from  small- 
er vessels  which  could  be  carried 
to  the  spring.  It  usually  had  three 
handles  and  was  decorated  with 
a  painting  of  some  scene.  Fig.  3967. 

A  large  vase  similar  to  the 
hydria,  but  having  two  lumdles, 
was  used  at  elections  for  the  re- 
ception of  the  votes.  Similar  vases 
were  also  used  for  storing  the 
ashes  of  the  deceased.  Cinerary 
vases  were  sometimes  without 
handles.     Fig.  3964. 

Krater.  Tlie  krater  was  a 
gigantic  punch-bowl  from  which 
the  mixed  wines  were  dipped  out 
iit  feasts  in  the  (enochoe,  or  wine 
jiiteher,  and  poured  into  the  var- 
ious forms  of  cups  held  by  the 
guests.  It  had  a  wide  neck  and 
two  handles.     Figs.  3968,  3971. 

Calpis.  A  water  jar  having 
three  handles,  two  at  the  should- 
ers and  one  at  the  neck. 

Celebe.  A  vase  found  chiefly 
in  Etruria,  distinguished  by  its 
peculiarly  shaped  handles,  whicli 
are  pillared. 

Ozybaphon.  A  bell-shaped 
vase  found  in  Magna  Greeia. 

Oenochoe.  A  wine-jug,  dip])er,  wine-pitcher,  or  wine  pourer. 
Its  lip  was  sunietimes  tre-foiled.  The  jug  in  which  the  wine  was 
transferred  from  tlie  krater  to  the  goblets  of  the  guests.  Fig. 
3974. 

Frochous.  A  smaller  variety  of  oenochoe.  An  ordinary  jug 
or  pitcher.     Fig.  3975. 

Cantharus.  A  kind  of  drinking  cup  with  handles.  Fig. 
3978. 

Cyathus.  A  single-handled  drinking  cup,  generally  used  as 
a  ladle  to  lift  wine  from  the  larger  vessel — the  crater — for  the 
drinking  party. 


Fig.  5.    Shows  the  modern  potter's  wheel  turned  by  foot^power 


Carchesium.  \n  antique  drinking  vessel  with  a  shallow 
foot.  It  is  wider  than  deep,  smaller  towards  the  center,  and 
has  handles  rising  high  over  the  edge. 

Phiale,  Patera.  A  shallow,  circular,  saucer-like  vessel, 
commonly  of  red  earthenware,  sometimes  of  bronze  and  other 
metals,  ornamented  with  a  drawn  pattern.  A  bowl.  The  patera 
was  used  for  holding  liquids,  and  especially  employed  to  eon- 
tain  tlie  wine  with  which  a  libation  was  poured  over  the  head 

of  a  victim,  or  on  the  altar.     Occa- 
sionally it  had  handles. 

Holcion.  An  antique  drink- 
ing cup,  resembling  a  small  can- 
tharus, but  without  handles,  and 
much  like  our  modern  goblet. 

Scyphus.  A  capacious  drink- 
ing cup,  used  by  the  lower  orders 
of  the  ancient  Etrurians  and 
Greeks. 

Kylix  (Calyx).  The  most 
common  form  of  cup,  broad  and 
shallow,  six  to  ten  inches  in  diam- 
eter. The  kylices  have  frequently 
l)aintings  of  wonderful  delicacy 
and  beauty.     Fig.  .3970. 

Lepaste.  A  drinking  cup, 
dift'ering  from  the  kylix  in  having 
a  broad  base  to  rest  on,  in  place  of 
the  more  elegant  stem  of  that  cup. 
Fig.  39()9. 

Rhyton.  A  drinking  cup 
— sometimes  in  the  form  of  a  horn, 
or  its  foot  extending  into  the  head 
of  a  deer  or  some  other  animal. 

Lebes.  A  deep  vessel  used  to 
catch  the  water  poured  over  the 
hands  and  feet  at  meal  times. 

Lecythus.  A  small  elongated 
vase  with  asingle  handle,  or  with- 
out one,  having  a  slender  neck, 
to  allow  oils  and  perfumes  to  drop 
slowly  from  it.  The  "white" 
lecythus  was  so  called  from  the  color  of  ground  laid  for  the  i)ic- 
ture  on  it.  It  was  peculiar  to  Attica,  and  was  used  as  a  funeral 
vase.  Some  of  these  are  among  the  most  delicate  and  beautiful 
works  of  Greek  art.     Figs.  3972,  3976. 

Alabastron.  A  box,  vase,  or  other  vessel,  to  hold  per- 
fumes, fcirmcd  of  alabaster,  and  sometimes  of  gold. 

Bombylios.     A  small,  narrow-necked  pot  for  perfumes. 
Aryballos.     A  vase  for  ointments  or  perfumes  used  by  the 
natiims  of  antiiiuity.     Fig.  3980. 

Cotyliscos  A  small  pot  with  a  single  handle;  in  other 
respects  like  an  amphora  in  miniature. 


Hood  Gasf  l^^e 


BY    CHAS.    F.    ZIMMERMANN. 


i. 


\   I    /HE  art  of  wood-oarving  was  practiced  in  the  earliest 
\  I  /     times    by   the    Greek  and  Roman  sculptors,  by 
^\^   the  natives  of  India  and  Persia,  by  the  Saracens, 
Moors,  and  the  more  civilized  nations  of  Asia.     In 
India  the  ancient  Hindu  temples  were  decorated 
with   doors,  ceilings   and    other    fittings,  carved 
in    sandal    and    other    woods.       The    patterns 
are  rich  and  minutely   elaborated.     The   Moslem   wood- 
carvers  designed  and  executed  the  richest  panelling  and 
other  decorations  for  wall-lining,  ceilings,  pulpits  and  all 
kinds  of  fittings  and  furniture.     In  China  and  Japan  the 
wood-carvers  possess  great  technical  skill.     The  extensive 
use  of  wood  or  bamboo  for   architectural   purposes   has 
always  given  the  wood-carver  a  wide  field  for  the  exercise 
of  his  talent.     A  large  number  of  small  examples  of  Egyp- 
tian wood-carving  exist  in  various  museums,  such  as  fur- 
niture,  boxes,   toilet    articles,   decorated   with    reliefs   of 
animals  and  plants,  the  lotus  and  papyrus  flowers  skilfully 
treated  predominating.     The  earliest  examples  of  the  plas- 
tic art  among   the  Greek  were  the  rude  wooden  images  of 
the  gods.     The  Palladium,  was  one  of  these  wooden  images. 
After   the  establishment  of  Christianity,  sculpture  in 
wood  was  employed  in  the  Christian  houses  of  worship. 
In  Germany  the  art  seems  to  have  been  especially  encour- 
aged, for  not  only  the  churches,  but  palatial  edifices,  the 
chateaux  of  the  nobility,  show  beautiful  examples  of  the 
art.     In   Augsberg,   Aschaffenberg,    Berlin,  Cologne,  Con- 
stance,  Dresden,   Gotha,    Munich,  Manheim,  Nuremberg, 
Ulm,  Ratisl>on,  and  other  towns  some  of  the  hiost  remark- 
able examples  are  found.     In  Holland  and  Belgium  beau- 
tiful examples  exist.     Almost  every  church  in  Antwerp, 
Ghent,  Brussels,  Ypres,  and  other  cities  of  Belgium  abound 
with  wood-carving.     The  town-halls  and  council  chaui))ers 
were  also   elaborately   decorated   in   the   same   way.     In 
ICngland  ornamental  sculpture  is  applied  to  religious  and 
domestic  structures  ;   and  manv  of  the  old  towns,  such  as 
Coventry,   Chester,  Shrewsbury,    Ludlow,    Hereford,   still 
show  fine  specimens.     Many  of  the  liuildings  in  England 
were  decorated  by  Flemish  artisans,  particularly  in  Norfolk 
and  Suffolk.     The  most  illustrious  of  the  English  wood- 
carvers  was  Grinling  Gibbons,  who  descended  from  a  Dutch 
family.     In  Italy  during  the  first  half  of  the  16th  century, 
wood-carving  of  the  most  elaborate  and  magnificent  sort 
was  largely  used  to  decorate  church  stalls,  wall-panelling, 
doors  and  the  like.     Many  of  the  French  cathedral  and 


abbey  choir  stalls  of  the  mediaeval  period  are  of  the  utmost 
magnificence.  Towards  the  close  of  the  15th  century,  the 
wood-carving  of  Germany  occupied  the  foremost  position 
in  the  world,  and  in  many  places,  such  as  Nuremberg  and 
parts  of  Bavaria,  great  technical  skill  has  survived  down 
to  the  present  time. 

2.      THE    PEOPLE   MUST   ENGAGE   IN   SOME    ARTISTIC    WORK. 

Grant  Allen  in  the  Magazine  of  Art,  writes  :  "  In  order 
to  arouse  artistic  feeling  in  the  people  at  large,  they  must 
all  make  something  with  their  own  hands.  They  must 
learn  what  handicraft  means.  That  is  just  what  very  few  of 
our  people  know  as  yet.  If  they  could  do  something 
toward  the  decoration  of  their  own  homes,  it  would  teach 
them  a  thousand  times  more  than  any  number  of  art 
exhibitions  or  South  Kensington  Museums.  They  go  to 
such  places  now  and  then  in  a  blind  sort  of  way,  and  they 
see  the  pictures,  and  the  Venetion  glass,  and  the  Palissy 
ware,  and  the  Oriental  carving  ;  but  they  don't  know  what 
these  things  mean,  or  how  to  admire  them,  'because  they 
have  no  standard  of  reference.  Thej'  have  done  nothing 
with  their  own  hands,  so  as  to  show  them  what  handicraft 
is,  and  what  qualities  in  it  are  admirable 

"  Give  a  man  a  piece  of  wood  and  ask  him  to  carve  it, 
say  into  a  book-cover.  If  he  has  never  learnt  wood-carving 
he  will  at  first  know  very  little  about  it.  But  as  he  pro- 
ceeds he  will  pick  up  principles  from  day  to  day,  which 
will  be  a  thousand  times  better  impressed  upon  his  mind 
than  if  he  were  merely  told  them  by  book  or  word  of 
mouth,  because  he  will  have  found  them  out  for  himself. 
He  may  spoil  two  or  three  book-covers  in  the  process,  but 
they  will  be  well  worth  the  trouble  of  spoiling 

"  Wherever  art  has  been  really  a  living  thing  among 
the  people,  it  has  been  because  the  masses  were  engaged  in 
artistic  handicrafts.  In  Italy  almost  all  the  trades  of  the 
country  involve  more  or  less  of  art:  in  France  a  large 
proportion  do  so.  Florentine  mosaics,  Venetian  glass, 
Genoese  filigree,  Sevres  porcelain,  Gobelins  tapestry — all 
these  things,  whatever  their  various  values  in  other  ways, 
have  gone  to  build  up  the  national  taste  of  France  and 
Italy  for  good  or  for  bad.  And  as  you  will  always  find 
that,  where  the  general  level  is  high,  exceptional  cases  will 
rise  still  higher,  so,  as  you  do  more  to  raise  the  taste  of  the 
mass,  you  will  make  possible  more  and  more  exceptional 


xliv 


C.  HENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


geniuses.  A  great  mechanical  discoverer  and  inventor 
like  Watt  or  Edison  is  only  likely  to  arise  among  a  nation 
of  general  industrial  character  ;  a  Raphael  or  a  Phidias  is 
only  likely  to  arise  among  a  nation  of  general  artistic 
taste. "_ 

3.      THE   SKILLED   ARTISANS    OF   JAPAN. 

Theodore  Wores,  in  a  recent  number  of  the  Century 
Magazine,  gives  the  American  people  some  of  his  observa- 
tions on  the  Japanese  artists  and  artisans.  The  whole 
article  should  be  carefully  read  and  studied  by  all  inter- 
ested in  general  art  education. 

"  In  associating  with  the  people  and  visiting  the  work- 
shops, I  was  surprised  at  the  almost  universal  ability  dis- 
played for  drawing  in  a  free,  off-hand  manner.  Almost 
every  artisan  could,  with  the  greatest  facilitj%  make  a 
quick,  effective  sketch  for  any  design  that  might  be  sug- 
gested to  him.  This  facility  in  rendering  forms  and 
designs  in  flowing  lines  with  brush  and  ink  is  undoubt- 
edly owing  to  the  graceful  form  of  their  writing,  to  which 
years  of  study  are  devoted  ;  and  this  is  in  itself  an  art 
education 

He  relates  his  experience  with  one  of  their  wood 
carvers  as  follows: — 

"  When  I  told  him  what  I  wanted  he  hastened  to 
assure  me  that  he  could  execute  my  order  without  the 
slightest  difficulty,  and  displayed  such  eagerness  to  under- 
take the  work  that  I  resolved  to  give  him  a  trial.  The 
design  of  this  frame,  I  explained  to  him,  was  to  consist  of 
lotus  leaves,  flowers  and  turtles,  carved  in  relief.  With 
the  assistance  of  a  few  rough  suggestions  with  a  pencil  I 
made  my  idea  clear  to  him,  and  he  volunteered  to  make 
a  drawing.  The  next  morning  he  presented  himself  with 
a  large  and  elaborate  sketch. 

"  I  could  hardly  believe  it  possible  that  such  a  beauti- 
ful work,  which  embodied  in  the  most  artistic  manner  all 
I  had  suggested,  could  have  been  executed  in  so  short  a 
time.  His  ability  was  therefore  no  longer  to  be  ques- 
tioned, and  when  a  few  days  later  I  again  called  at  his 
shop  he  was  already  hard  at  work  on  the  frame.  It  was 
most  fascinating  to  observe  its  progress.  A  rough  piece 
of  camphor  wood,  which  represented  one  side  of  the  frame, 
lay  before  him.  With  a  few  rapid  strokes  of  his  brush  he 
indicated  the  general  design,  and  then,  without  any  further 
preparation,  seized  his  hammer  and  chisel,  and  without 
hesitation  boldly  hacked  away  at  the  wood,  making  the 
chips  fly  in  every  direction.  Before  long  the  unmistakable 
forms  of  lotus  leaves,  flowers,  turtles  and  water  lines, 
gracefully  intermingled,  began  to  appear 

"  The  skilled  artisan  in  Japan  not  only  executes,  but 
in  most  cases  designs  his  own  work.  He  perfecty  under- 
stands the  capabilities  of  the  materials  he  employs,  be 
they  of  wood,  bronze,  lacquer,  or  ivory,  and  he  designs  his 


forms  to  adapt  them  to  the  materials  used.  He  does  not 
consider  it  necessary  that  the  form  he  plans  should  be  a 
perfect  or  accurate  reproduction  of  the  object  he  under- 
takes to  represent,  but  he  does  endeavor  to  give  its  char- 
acter, however  he  may  vary  the  design  in  conforming  to 
the  character  of  his  materials. 

"  In  this  he  is  undoubtedly  guided  more  or  less  by  his 
artistic  instinct,  which  is  but  an  inheritance  from  genera- 
tions of  artisan  forefathers,  who  have  bequethed  to  him 
their  accumulated  knowledge.  Thus  it  is  that  the  Japan- 
ese artisan  is  instinctively  artistic,  and  produces  artistic 
work  almost  unconsciously  by  simply  following  out  his 
natural  tastes  and  inclinations." 

4.       ITS    USE    IN    ARCHITECTURE. 

The  Artist,  London,  gives  an  abstract  of  Mr  Pollen's 
lecture  on  wood  carving.     We  can  quote  in  part  only. 

"  Now  let  us  consider  what  the  opportunities  of  the 
carver  are,  and  what  different  methods  of  treatment  he  has 
at  his  command.  There  are  the  beams  of  which  parts  of 
all  houses  are  constructed,  and  which,  being  of  wood,  are 
to  be  carved  when  the  style  of  the  architecture  exposes 
them  to  view,  as  in  church  and  hall  roofs,  rooms  in  which 
the  joints  of  the  floor  above  are  exposed,  etc.  As  beams 
and  timbers  are  concentrations  of  strength,  they  often  have 
to  bear  walls  that  exceed  their  thickness  and  project 
beyond  their  edges,  such  as  door  lintels,  architraves,  and 
the  like.  In  these  cases  it  is  the  angular  edge,  or  so  much 
of  the  edge  as  will  not  impair  the  strength  of  joists  or 
rafters  that  can  be  carved  effectively.  In  the  case  of  a 
post  such  as  a  stair  newel,  the  king  post  of  a  Gothic  roof, 
both  edges  and  sides  can  be  carved — extra  length  of  wood 
being  allowed  for  the  purpose  above  the  stair  newels  or 
below  the  king  posts — without  interfering  with  the  actual 
purpose  of  these  posts,  either  in  reality  or  apparently, 
apparent  strength  being  necessary  to  due  effectiveness. 
As  to  running  mouldings  worked  on  edges,  whether  of 
beams,  joists,  rafters  or  rails  of  any  kind;  or  again,  on  the 
angles  of  door  and  window  jambs  and  lintels,  or  on  the 
framework  of  panels,  the  distinct  rolls  and  hollows  of 
which  they  consist  must  be  limited  in  number.  There 
should  never  be  less  than  three,  that  a  due  proportion 
between  the  members  may  be  maintained,  nor  should  they 
be  too  numerous.  Brackets  have  so  many  distinct  ends 
projecting  over  the  other.  Cornices  are  made  up  of  rows 
of  brackets,  or  are  one  continuous  running  bracket.  In 
this  way  cornices  represent  thicknesses  of  wood  projecting 
from  the  wall  one  above  another,  and  should  represent, 
say,  an  upper,  a  middle,  and  a  lower  projection.  We 
ought  to  preserve  this  idea  in  complicated  cornices  and 
give  emphasis  to  the  middle  feature;  then  there  will  be  a 
group  of  lines  above  it  and  a  group  of  lines  below.  These 
groups  break  the  angle  between  roof  and  wall,  or  anything 


wo  OB  CARVING. 


xlv 


that  represents  roof,  such  as  tlie  top  of  a  chimney-piece,  or 
a  door-way,  and  so  forth.  When  you  see  an  unmeaning 
succession  of  repeated  mouldings,  as  you  often  do  in 
builders'  decoration,  you  will  feel  that  the  real  idea  of 
their  relation  to  each  other  has  never  been  grasped.  If 
from  solid  timbers  we  pass  to  wall  surfaces,  it  is  obvious 
that  large  wall  spaces  can  be  only  covered  hy  framed 
paneling.  The  framework  must  be  of  sufficient  thickness 
to  be  grooved  to  take  the  panels,  and  this  extra  thickness 
has  to  be  relieved  from  the  heavy  appearance  of  a  more 
thick  edge.  We  have  to  ease  down  the  edge  by  mouldings 
or  lines  in  relief,  some  bolder,  others  finer,  as  the  edges  of 
the  frame  decrease  till  they  meet  the  panel.  In  a  large 
room  cut  up  into  paneling,  the  general  effect  will  depend 
on  the  size  and  proportions  of  the  panels  to  height  and 
width  of  the  room  and  of  the  rows  of  panels  to  each  other. 
Paneling  requires  to  have  some  rows  taller  than  others, 
and  to  have  upper  and  lower  rows  of  less  height  than  the 
general  order.  Upon  the  size  of  the  panels  will  depend 
the  l)oldness  and  size  of  the  mouldings.  We  meet  with 
large  paneling  in  which  the  mouldings  are  planted  into  the 
junction  of  frame  and  panel,  and  exceed  the  thickness  of 
both.  I  do  not  think  it  a  good  feature,  and  it  is  often  a 
vulgarism. 

5.       OARVKD    MOULDINGS. 

"  In  carving  mouldings  there  are  two  rules  to  observe — 
one  that  the  general  form  and  outline  of  the  original  lines, 
or  bars,  or  hollows  moulded  by  the  plane  have  to  be  pre- 
served ;  another  rule  is  that  no  work  put  upon  these  feat- 
ures ought  to  be  allowed  to  quarrel  with  the  direction  of 
their  lines.  Foliage  or  plaited  ornaments  should  run  at 
right  angles  with  that  direction,  and  be  delicate  enough  to 
lose  themselves  at  a  distance,  at  which  the  original  mould- 
ing only  can  be  distinguished.  But  in  all  large  surfaces 
of  panelling  the  greater  quantity  of  moulding  will  be 
worked  mechanically  by  a  plane  iron  filed  to  the  curvature 
required.  If  you  examine  the  small  panelling  of  the  15th 
century,  much  of  it  will  be  found  to  have  been  executed 
by  a  tool  worked  by  the  fingers  after  the  wood  has  been 
framed  together.  The  mouldings  die  down  without  meet- 
ing in  the  angles,  but  these  mouldings  are  necessarily 
small  and  shallow.  On  furniture,  chests,  and  other  more 
important  joinery,  mouldings  seem  to  have  been  cut 
throughout  with  the  carver's  gouge.  Here,  then,  we  have 
the  treatment  of  edges  of  panels.  How  effective  they  can 
be  made  I  need  not  say.  Panels  are  sometimes  made  of 
wood,  so  thick  as  to  be  brought  up  to  the  level  of  the  rails 
that  frame  them,  and  reduced  by  wide  bevelings  to  meet 
the  grooves  of  stiles  and  rails.  The  thick  parts  are  left 
with  a  defined  edge  as  though  a  thin  extra  plank  were 
added  to  the  thickness.  I  consider  that  the  jjroper  pur- 
pose of  this  thickness  is  to  allow  of  carving.     Carving  in 


these  parts  has  to  be  in  very  low  relief — historical  subjects 
or  leaf-work  compositions.  Figure  carving  in  some  places 
is  sometimes  of  extraordinary  merit.  Examples  can  be 
seen  among  the  cabinets  of  the  Soulages  collection  in  the 
Kensington  Museum.  There  are,  of  course,  parts  or  feat- 
ures of  all  interiors  in  which  the  carver  has  to  put  forth  all 
his  powers,  those  in  which  bold  relief  can  be  employed — 
door  heads,  fire  places,  and  other  prominent  features. 
Here  will  come  figure  work,  bold  foliage,  heraldry  and  the 
like.  Generally  and  broadly  speaking,  what  is  it  that 
makes  carving  effective  ?  Not  extreme  skill  in  cutting,  nor 
absolute  indications  of  nature,  however  good.  It  is  a 
knowledge  of,  or  rather,  an  habitual  recognition  of,  laws 
that  govern  all  composed  design  which  becomes  what  we 
know  by  the  word  feeling.  We  have  spoken  of  mouldings 
on  the  edges  of  woodwork,  and  of  composition  of  foliage 
and  figures,  heraldry,  and  other  ornamental  composition. 
What  is  the  law  that  governs  the  due  prominence  and 
arrangement  of  lines  and  masses  ?  I  consider  mouldings 
as  bars  or  borders  of  light,  separated  just  so  much  from  the 
surface  to  which  they  form  an  edge  as  to  show  their  outline. 
This  first  edging  is  the  largest  and  widest,  as  it  is  on  the 
thick  portion  of  the  wood  ;  on  its  shaded  side  it  dies  grad- 
ually until  it  ends  in  a  smaller  roll,  and  then,  perhaps,  a 
sharp  arris. 

6.      SOME    PRINCIPLES   TO    BE   OBSERVED   IN    WOOD    CARVING. 

"  If  you  watch  the  growth  and  decay  of  styles  of  archi- 
tecture, it  is  in  the  multiplication  or  breaking  up  or  loss 
of  meaning  of  mouldings  that  these  stages  of  decay  and 
corruption  are  most  obvious.  Mouldings  form  three- 
fourths  of  the  carver's  work.  Carry  this  principle  further 
into  the  composition  of  carved  groups,  such  as  fill  sunk 
panels  or  pediments.  One  may  be  able  to  carve  the  figure 
of  a  man,  a  lion,  or  a  piece  of  foliage,  but  so  to  combine  a 
number  of  figures  as  to  make  each  of  them  evident,  to  give 
the  grace  or  the  force  that  belongs  to  each  of  them  respec- 
tively, and  when  combined  to  form  an  agreeable  and  well- 
balanced  composition  of  masses  and  line  of  light,  here  is 
the  difficulty.  Regarding  the  amount  of  detachment  or 
absolute  relief  that  good  carving  in  such  cases  ought  to 
have,  it  will  depend  on  the  character  of  lightness  and  of 
movement  the  carver  wishes  to  give  his  work.  Generally, 
carving  of  this  kind  should  never  lose  touch  in  appearance 
from  the  mass  to  which  it  belongs,  and  should  die  gradually 
into  the  shadow.  Much  excellent  carved  work  loses  value 
from  too  much  under  cutting,  even  in  the  work  of  so  great 
an  artist  as  Grinling  Gibbons.  Further,  if  carving  is  not 
to  appear  as  if  it  floated  in  a  disproportioned  sea  of  shadow, 
neither  should  it  be  so  crowded  up  as  to  become  indistinct. 
Nor  can  decorative  carving  be  carried,  except  to  a  limited 
degree,  to  the  direct  imitation  of  nature.  As  nature  would 
not  join  animal  and  vegetable  life  together,  so  we  are  to 


xlvi 


C.  HENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


represent  natural  life  and  living  objects  not  as  if  we  were 
making  definite  pictures  of  them,  but  such  features  of  their 
nature  as  will  gracefully  express  the  arrangements  of  light 
and  lines  as  are  required  for  our  immediate  purpose,  and 
no  further.  The  value  of  light  and  its  concentration  on 
masses  of  relief  is  of  the  first  consequence  to  the  carver, 
grace  of  line  is  second.  Not  that  the  two  are  separable, 
but  the  composition  of  masses  seems  to  me  the  more 
difficult  of  the  two." 

7.       HOUSEHOLD   ART. 

"  In  reviewing  what  may  be  called  the  household  art 
of  many  ages,  it  would  be  difficult  to  assign  an  absolute 
superiority  to  the  artists  of  any  one  generation,  consider- 
ing what  countless  beautiful  objects  have  been  made  for 
the  personal  use  and  enjoyment  of  men.  The  sculptured 
thrones  of  ivory  and  gold,  the  seats  and  couches  of  bronze 
overlaid  with  gold  and  damascened  with  the  precious 
metals,  the  inlaid  chariots,  tables,  chests,  and  jewelled 
caskets  of  antiquity;  the  imagery,  the  shrines,  the  stalls, 
and  roofs  of  the  middle  ages;  the  wood  sculpture,  tarsia, 
pietra  dura,  damascening  and  the  endless  variety  of  objects 
produced  during  the  days  of  Leonardo,  Michel  Angelo,  and 
Raphael,  down  to  the  ca^^'ing  of  Gibbons,  and  the  splendid 
work  of  Boule,  Riesener  and  Gouthiere,  are  all  in  various 
ways  excellent. 

"  We  must  not  venture  to  call  one  class  of  production 
finer  than  another  where  the  differences  are  so  great  and 
such  high  perfection  has  been  attained  in  each.  Every 
style  and  feshion  when  at  its  best  has  resulted  from  the 
utmost  application  of  mind  and  time  on  the  part  of 
trained  artists;  and  the  highest  art  can  never  be  cheap, 
neither  can  any  machinery  or  any  help  from  mechanical 
assistance  become  substitutes  for  art.  Beauty  which  is 
created  by  the  hand  of  man  is  not  the  clever  application  of 
mechanical  forces  or  of  scientific  inventions,  but  is  brought 
to  light,  whether  it  be  a  cabinet  front  or  the  Venus  of 
Milo,  often  with  pain,  always  by  the  entire  devotion  of  the 
labour,  the  intellect,  the  experience,  the  imagination  and 
the  affection,  of  the  artist  and  the  workmsm." — John 
HiDigerford  Pollen. 

8.      SOME    PRINCIPLES   OF   CONSTRUCTION    AND 
ORNAMENTATION. 

'•  The  constructive  forms,  moreover,  should  not  be 
obscured  by  the  ornament,  but  rather  brought  out  by  it; 
nor  should  all  portions  be  equally  decorated,  but  only  such 
parts  as  friezes,  pilasters,  capitals,  piUars,  or  panels;  herein 
simplicitj'  is  the  safest  guide  to  beauty.  Over-enrichment, 
indeed,  destroys  itself,  and  it  would  not  be  difficult  to 
point  out  works  of  the  greatest  pretensions  and  the  most 
costly  workmanship,  which  are  completely  spoiled  by  this 
fault.     Cabinets  entirely  covered  with  carving,  the  very 


stiles  and  rails  being  as  decorated  as  the  panels  and 
pilasters;  metal  chandeliers,  with  leaves  and  flowers 
in  as  great  profusion  as  in  nature;  papier-mache  hidden 
under  a  surface  of  pearl  and  gold.  It  should  be  remem- 
bered that  contrast  is  one  of  the  first  elements  of  pleasure, 
and  that  repose  is  one  of  the  most  valued  excellencies  of 
art;  thus  simplicity  serves  as  the  back  ground  to  ornament, 
as  the  setting  to  the  gem,  or  the  foil  that  enhances  the 
beauty  of  the  jewel;  and  the  good  artist  is  as  much  shown 
in  the  economy  of  his  labor  as  the  bad  one  is  by  over- 
enrichment. 

"  In  following  out  our  principle  that  ornament  should 
arise  out  of  construction,  the  work,  abstractedly,  should  be 
constructed  and  then  decorated;  not  that  it  is  meant  that 
the  ornament  should  be  applied  to  the  object,  but  (as  in 
wood  for  instance)  carved  from  it;  thus  the  leg  formed  for 
support,  the  pilaster  or  column  for  bearing,  may  be  light- 
ened and  enriched  by  cutting  away  from  the  block  or  slab, 
not  by  adding  to  it.  In  his  natural  stat«  man  is  a  true 
workman  in  this  respect,  and  works  on  just  principles 
without  knowing  it.  The  New  Zealander,  or  South-Sea 
Islander  first /ornw  his  war-club  or  his  paddle  of  the  shape 
best  adapted  for  use,  and  then  carves  the  surface  to  orna- 
ment it.  The  Swiss  peasant,  or  the  shepherd  of  our  own 
hills,  works  in  a  similar  way.  Such  also  is  the  case  in  the 
works  of  Eastern  nations,  as  is  particularly  exemplified  in 
their  choice  sandal-wood  carvings.  Here  the  natural  and 
the  refined  taste  agree,  for  the  best  ornamental  wood  carv- 
ing of  the  Renaissance  is  on  this  principle,  low  in  relief, 
seldom  projecting  beyond  the  surface  of  the  pilaster,  or  the 
framing  of  the  panel. 

"In  wood-carving  care  should  be  taken  not  only  to 
have  the  relief  so  managed  as  to  guard  the  work  as  much 
as  possible  from  accidental  injury,  but  the  designer  should 
seek  to  adapt  the  forms  of  the  ornament  to  the  direction 
of  the  grain  when  it  is  open  or  free,  and  the  work  should 
be  framed  with  a  view  to  this  consideration;  moreover, 
ornamental  carving  should  not  be  applied  to  wood  of 
strongly-marked  parti-coloured  grain,  but  that  which  is 
homogeneous  in  color  should  be  selected  for  the  purpose, 
in  order  that  the  ornamental  tbrms  may  as  little  as  possible 
be  interfered  with  by  being  mixed  up  with  the  lines  and 
colours  of  the  grain.  It  is  curious  how  much  costly  and 
skUful  labor  has  been  thrown  away  from  inattention  to 
such  minor  considerations  as  these. 

9.      IMITATIVE   CARVING   IN    FURNITURE    NEVER    JUST   IN 
PRINCIPLE. 

"  The  furniture  of  a  man's  house  should  indeed  be  well 
designed,  well  constructed,  and  judiciously  ornamented,  for, 
as  it  is  constantly  under  his  hand  and  eye.  defects  overlooked 
at  first,  or  disregarded  for  some  showy  excellence,  grow  into 
great  grievances,  when,  after  they  have  become  an  oflFense,  the 


WOOD  CARVING. 


xlvii 


annoyance  daily  increases.  Here  at  least  utility  should 
be  the  first  object,  and,  as  simplicity  rarely  offends,  that 
ornament,  which  is  the  most  simple  in  style,  will  be  likely 
to  give  the  most  lasting  satisfaction. 

Yet  how  seldom  is  this  consideration  duly  attended  to  ! 
The  ornament  too  often  consists  largly  of  imitative  carving  ; 
bunches  of  fi'uit,  flowers,  game,  and  utensils  of  various 
kinds  in  swags  and  festoons  of  the  most  massive  size  and 
the  boldest  impost,  attached  indiscriminately  and  without 
meaning  to  bedsteads,  sideboards,  book-cases,  pier-glasses, 
etc.,  rarely  carved  from  the  members  of  the  work  itself,  but 
merely  applied  as  so  much  putty-work  or  papier-mach^ 
might  be.  The  laws  of  ornament  are  as  completely  set  at 
defiance  as  those  of  use  and  convenience.  Many  of  these 
works,  instead  of  being  useful,  would  require  a  rail  to  keep 
off  the  household.  We  see  a  sideboard,  for  instance,  with 
garlands  of  imitative  flowers  projecting  so  far  from  the  slab 
as  to  require  a  '  long  arm  '  to  reach  across  them,  and  ever 
liable  to  be  chipped  and  broken  ;  and  cabinets  and  book- 
cases so  bristling  with  walnut-wood  flowers  and  oaken 
leaves,  as  to  put  use  out  of  the  question 

"  Those  designers  who  unreservedly  adopt  the  ornament 
of  past  times  must,  of  course,  apply  it  to  their  works  with- 
out any  peculiar  significance  or  connected  idea,  but  merely 
for  its  beautiful  forms,  elegance,  grace,  or  richness.  Where, 
however,  any  significant  allusion,  sentiment,  or  happy  idea 
can  be  embodied  in  the  ornament,  uniting  it  with  the  use 
and  intent  of  the  work  on  which  it  is  to  be  placed,  it  Avill 
have  a  charm  which  is  otherwise  wanting.  Not  that  this 
want  is  peculiar  to  the  application  of  traditional  orna- 
ment, since  the  designer  in  the  natural  or  imitative  manner 
seldom  attempts  any  connection  between  his  decoration 
and  the  work  to  which  it  is  to  be  applied.  There  seems 
no  fitness,  for  instance,  in  surrounding  the  frame  of  a 
pier-glass  with  dead  birds,  game,  shell-fish,  nets,  etc., 
although  they  may  be  excellent  specimens  of  carving  ;  nor 
is  it  clear  why  eagles  should  support  a  sideboard,  or  dogs 
form  the  arms  of  an  elbow-chair  ;  nor,  again,  why  swans 
should  make  their  nests  under  a  table,  at  the  risk  of  having 
their  necks  broken  by  every  one  seated  at  it.  Indeed,  in 
most  cases,  as  such  imitative  forms  cannot  in  the  strict 
sense  be  called  ornament,  they  almost  challenge  inquiry  as 
to  why  they  have  been  adopted,  and  only  disappoint  us 
when  we  find  that  their  application  has  been  without 
motive  :  this  is  not  the  case  with  traditional  ornament, 
which,  like  the  current  coin,  is  accepted  at  once  without 
inquiry 

10.       CUE   ART-WOHKMEN   MUST   STUDY   DESIGN. 

"  The  great  defect  in  all  our  ambitious  furniture  is  the 
want  of  art  power  in  the  workman.  In  this  respect  we 
are  still  sadly  behind  continental  nations.  Whenever  the 
human  figure  is  used  as  ornament  in  English  works  it  is 


pretty  sure  to  be  faulty.  The  figure  may  be  well  com- 
posed, may  be  evidently  designed  in  good  taste,  since  that 
is  often  the  work  of  a  superior  artist;  but  in  the  execution 
it  is  almost  alwaj'S  misunderstood  and  spoiled.  The 
extremities  are  finished  without  knowledge  of  the  internal 
structure,  the  fingers,  toes,  and  joints  have  no  bones 
within  the  skin,  but  that  '  gummy  '  undecided  treatment 
which  evidences  the  ignorance  of  the  workman.  In  wood- 
carving  this  is  equally  apparent,  even  when  it  consists  only 
of  ornamental  forms.  Very  often  in  such  work  the 
'  design '  of  the  ornament  would  seem  to  be  by  the  same 
unskilled  hand  that  carved  it,  since  it  is  mostly  out  of 
place  coarse,  and  merely  '  natural '  in  style,  and  rarely 
reaches  beyond  the  expression  of  the  most  commonplace 
thought,  or  the  imitation  of  the  commonest  fruits  and 
flowers.  Success  in  rendering  either  the  human  figure  or 
animals,  when  in  life  and  motion,  can  only  be  the 
result  of  knowledge  attained  by  a  careful  study  of 
the  structure  of  the  bony  frame-work  and  of  the  mov- 
ing muscles;  and  thus  it  is  the  want  of  such  anatomical 
knowledge  and  of  a  proper  training  in  art  that  causes  the  de- 
ficiency we  are  obliged  to  notice  in  our  furniture,  and  which 
compels  the  carver  to  confine  himself  to  mere  works  of  imi- 
tation, knowing  that  higher  flights  are  licyond  his  powers. 
This  deficiency  of  power  and  skill  in  the  human  figure  is 
only  an  additional  evidence  of  the  want  of  better  educa- 
tion for  our  art-workmen.  They  need  to  have  proper 
treatises  prepared  for  them,  laying  down  the  principles 
of  ornament,  and  giving  them  a  thorough  foundation  in 
practical  geometry,  form,  proportion,  and,  above  all,  in 
anatomy,  together  with  a  careful  education  of  the  hand 
and  eye.  Unless  the  manufacturers  of  this  country  are 
soon  awakened  to  our  deficiencies,  and  prepared  to  make 
great  sacrifices  to  support  the  government  art  schools,  and 
to  enable  and  induce  their  workmen  to  study  in  them,  we 
must  be  content  to  lag  still  further  behind  as  the  world 
advances,  and  for  the  future  to  be  manufacturers  of  cheap 
goods,  leaving  excellence  and  beauty  to  our  continental 
neighbors." — Richard  Redgrave,  R.  A. 


11. 


MATERIALS    AND   TOOI^. 


The  wood  of  the  lime-tree  is  well  adapted  for  the  first 
work  of  the  beginner.  When  some  knowledge  has  been 
gained  of  the  manner  in  which  tools  should  be  used,  the 
harder  woods  may  be  employed.  Sycamore,  holly  and 
chestnut  are  light  woods,  pear  is  moderately  hard  but 
works  well  and  takes  a  stain  and  polish  readily.  Apple, 
poplar,  mahogany,  bay-wood  and  cherry  are  also  good 
woods.  For  small,  delicate  work  box-wood  and  ebony 
may  we  used.  Woods  which  show  an  ornamental  grain, 
such  as  bird's-eye  maple,  or  satin-wood,  are  used  very 
little  as  the  figure  in  the  wood  mars  the  effect  of  the 
carving.     Oak  is  most  generally  used  and  next  to  it  the 


xlviii 


a  HENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


walnut.  In  Europe,  in  addition  to  these  two  woods,  the 
sycamore,  the  chestnut,  the  fir  and  the  plane-tree  are 
chief!)'  used.  In  the  oriental  countries,  cedar-wood  and 
sandal-wood  have  been  favorites  with  the  carver.  It  is  of 
great  importance  that  the  wood  used  should  be  thoroughly 
seasoned.  "  Green  "  wood  causes  great  injury  to  the  fin- 
ished work. 

Only  a  few  tools  are  necessary  for  the  beginner  ;  more 
can  be  added  as  the  use  for  them  is  determined.  Get  tools 
of  tlie  best  make.  A  few  square  chisels,  Hat  gouges,  hol- 
low gouges,  skew  chisels,  a  parting  tool,  or  V  tool,  a  niac- 
caroni  tool,  a  mallet,  a  punch,  a  small  circular  grindstone 
of  emery,  an  oil-stone,  are  all  that  are  necessary  to  begin 
with.  The  chisels  recommended  are  i  in.,  i  in.,  and  J  in. 
flat  tools  ;  }  in.  and  i  in.  gouges,  straight  and  bent.  See 
j)ages  84  and  85.  The  liandles  to  the  tools  should  be  short, 
say  five  inches.  Longer  handles  may  be  used  later  in  the 
work. 

It  is  important  to  keep  the  tools  well  sharpened.  This 
requires  considerable  practice,  as  carver's  tools  are  sharp- 
ened on  both  sides.  The  gouges  must  be  carefullj'  turned 
ro\ind  during  the  process  of  sharpening,  so  as  to  grind 
evenly  all  parts  of  the  edge.  The  maccaroni  tool  is  sharp- 
ened on  the  outside  only.  If  tools  are  very  blunt  they 
are  ground  first,  then  sharpened  on  the  oil-stone,  and 
finished  on  a  piece  of  stout  buff  leather  prepared  with 
grease,  flour  emery,  and  crocus.  The  Arkansas  stone  is 
the  best  for  sharpening  the  finer  tools.  The  punches  for 
marking  the  background  can  be  purchased  or  made  by 
filing  the  point  of  a  large  spike  or  nail  into  four  or  more 
points. 

The  Addis'  tools  are  considered  the  best.  They  are 
made  in  various  sizes  and  shapes,  but  belong  to  the  groups 
of  tools  named  above.  Each  student  must  select  the 
particular  variety  of  tools  from  the  various  lists  best 
suited  to  his  wants.     (See  pages  84  and  85). 

As  considerable  force  is  used  in  carving  wood  it  is  very 
important  that  the  block  upon  which  the  carving  is  done 
should  be  firmly  fixed  to  the  bench.  A  bench  vise  is  used 
for  this  purpose,  but  the  carver^s  screw  has  many  advantages. 
Page  84.  This  screw  is  passed  through  a  hole  in  the  bench 
and  screwed  into  the  block  of  wood  sufficiently  far  to  get  a 
firm  grip  of  it,  but  not  far  enough  to  interfere  with  the 
carving.  The  screw  is  held  by  a  fly-nut  underneath.  As 
the  learner  progresses  in  his  work,  the  best  contrivances 
•for  holding  the  wood  will  naturally  suggest  themselves. 


12. 


THE    DESIGN. 


Preference  is  always  to  be  given  to  designs  fi'ora  some  old 
work  of  the  fifteenth  and  sixteenth  century  when  wood- 
carving  flourished  in  the  different  countries  of  Europe. 
Original  designs  by  the  amateur  wood-carver  are  in  order 
when  considerable  skill  has  already  been  acquired. 

On  light  wood  draw  the  design  in  outline  with  a  lead- 
pencil.  On  dark  wood  paint  the  design  with  a  fine 
camel's  hair  brush  in  Chinese  white,  and  mark  the  por- 
tions to  be  carved  out  in  a  darker  color.  The  tracing 
wheel  may  be  used  to  mark  the  design  on  the  wood;  or  the 
design  may  be  pasted  on  to  the  wood  and  the  carving  done 
through  it.  But  where  the  design  is  to  be  preserved  we 
can  transfer  it  by  placing  carbon  paper  between  the  design 
and  the  wood. 

13.       FIRST   EFFORTS. 

Having  selected  a  piece  of  pine  about  an  inch  thick  for 
your  first  effort,  see  that  it  is  free  from  knots  or  shakes.  It 
should  be  planed  so  that  you  can  draw  or  mark  upon  it 
easily,  and  square  at  the  edges.  Clamp  the  wood  down 
upon  the  bench,  table,  or  jjlank  firmly.  Draw  lines  upon 
it  and  taking  your  chisel  or  gouge  practice  cutting  out  the 
wood  between  the  lines,  cutting   with    the   grain   of  the 


A  simple  geometrical  figure  composed  of  straight  lines 
and  curves  is  preferable  to  a  design  composed  of  leaf  forms 
for.  the  first  effort.  The  kerbschnitt  designs,  of  which  we 
shall  speak  further  on,  are  Avell  adapted  to  the  first  efforts. 


Fig.  1. 

wood.  Do  not  use  the  V  tool  to  begin  with  as  it  is  easily 
broken.  Do  not  remove  too  much  wood  at  first,  but  take  away 
a  little  and  go  over  it  again.  Practice  cutting  against  the 
grain  of  the  wood  next.  Then  try  to  carve  curves  drawn 
upon  the  wood.  Hold  the  tool  in  the  right  hand  and 
guide  it  with  the  forefinger  and  middle  finger  of  the  left 
hand.  See  Fig.  1.  Keep  the  fingers  away  from  the  edge 
of  the  tool.  On  no  account  hold  the  work  with  one  hand 
while  the  tool  is  being  used  by  the  other.  Bear  on  lightly, 
and  remove  the  wood  evenly.  Sharpen  the  tool  every  ten 
or  fifteen  minutes  on  the  hone  or  strap. 

This  preliminary  practice  will  have  given  the  student 
some  idea  of  how  to  use  the  chisel  and  gouge,  and  he  can 
now  proceed  with  a  simple  pattern. 

Select  another  piece  of  wood,  planed  and  squared  as 
suggested  above.  Cut  away  a  narrow  strip  of  wood  a 
quarter  of  an  inch  wide  and  deep,  making  a  rabbet  or 
groove  all  around.  Now  in  carving  keep  above  the  im- 
aginary line  A  B,  in  Fig.  2,  as  this  line  is  the  ground  level 
upon  which  the  ornamentation  will  appear  to  lie  when 
finished. 

Draw  or  transfer  the  design  upon  the  surface  of  the 
wood,  in  good,  strong  black  lines.     The  parts  forming  the 


WOOD   CARVING. 


xlix 


background  are  now  to   be  cut    away   until   the   ground 

line    A  B  is  reached.     Outline  the  pattern  with  the  chisel 

or  gouge,  pressing  it 
down  at  an  angle  of  45° 
and  away  from  the 
portion  to  be  left  in 
relief,  never  under- 
neath it.  Takeout  all 
the  background,  and 
get  it  (juite  even  and 
Hat.  When  all  the 
ground  has  been  taken 
away,  trim  up  the  edges 
of  the  raised  parts. 

When  the  student 
has  mastered  this  part 
of  the  work  well,  he 
has  already  laid  a 
good  foundation  in 
the  art.  It  is  there- 
fore best  to  confine 
all  his  early  efforts 
to  work  of  this  nature. 
Prick  or  indent  the 
background  with   the 

punch  or  stamp;  (see  page  84);  the  closer  and  deeper  these 

indentations  are  made,  the  better. 

14.       FINISHING. 

But  not  all  work  is  left  in  the  state  in  which  it  was 
after  the  ground  had  been  taken  out.  The  student  must 
decide  which  are  to  be  the  most  prominent  points  in  his 
work,  and  he  must  work  from  these  so  as  to  produce  the 
proper  distribution  of  the  lights  and  shadows;  he  must 
giv-e  prominence  to  some  forms  so  as  to  appear  to  come 


Fig. 


forward,  and  others  to  recede  or  pass  into  the  background. 
This  requires  judgment  and  skill  for  which  no  definite 
rules  can  be  laid  down.  Observation  and  study  of  nature 
are  the  only  safe  guides. 

In  giving  his  work  the  finishing  touches,  the  student 
has  a  chance  to  display  his  artistic  feeling,  and  apprecia- 
tion of  the  beauties  of  form.  If  his  preparation  in  draw- 
ing and  modeling,  and  the  study  of  nature  has  been  sys- 
tematic and  thorough  his  mind  will  have  become  critical, 
and  he  intuitively  rejects  whatever  will  mar  his  work, 
while  he  is  at  the  same  time  able  to  select  what  is  most 
worthy  of  being  expressed. 

The  work  having  been  completed  it  is  not  necessary  to 
efface  the  tool  marks  by  trying  to  obtain  the  smoothness 
produced  by  sandpaper  and  polishing.  These  very  tool 
marks  show  the  skill  or  the  lack  of  skill  of  the  carver. 
The  piece  of  work  may  be  oiled,  stained,  or  polished  with 
oil,  but  should  never  be  made  to  appear  anything  else  than 
the  product  of  the  sculptor  in  wood. 

15.       KERBSCHNITT. 

This  beautiful  system  of  surface  decoration,  consisting 
of  geometrical  forms  carved  in  wood,  was  much  in  vogue 
in  all  the  northern  countries  of  Europe  as  far  back  as  the 
13th  century.  As  much  of  this  work  Can  be  executed 
with  the  aid  of  the  knife  and  a  few  tools,  it  has  been 
adopted  as  one  of  the  branches  of  manual  training  in  the 
schools  of  Germany  with  excellent  results.  The  surface 
to  be  ornamented  is  divided  into  regular  spaces  by  using 
the  rule  and  the  compass.  The  background  of  these 
figures  is  not  flat  and  even  as  in  wood  carving  described 
above,  but  the  whole  surface  is  broken  up  in  regular  and 
irregular  fonns,  the  lights  and  shadows  being  so  disposed 
as  to  produce  a  very  beautiful  effect.  (See  illustrations 
below). 


^^^^'^.W^ 


e  g  I 


ixixixixixixixixgm 


?5gteil  ^e^j)t5!l!Bi|, 


BY   CHAS.    F.    ZIMMERMANN. 


HE  art  student  or  worker  in  art  industries  who 
would  excel  must  devote  himself  to  his  chosen 
profession  with  all  seriousness.  If  nature  has 
endowed  him  with  a  taste  for  the  beautiful,  with 
talent,  or  perhaps,  genius,  and  he  has  already 
mastered  the  technical  part  of  his  profession,  he 
has  still  need  of  a  liberal  culture.  He  must  not 
only  know  nature  in  her  outward  garb  in  all  her 
varied  forms,  he  must  also  know  the  secret  springs,  the 
causes  of  all  these  phenomena.  He  must  know  the  laws  of 
organic  life  as  far  as  they  influence  the  different  phases 
which  nature  presents.  His  chief  aim  must  be  to  render 
nature  truthfully.  He  must  not  only  study  the'  laws 
which  control  the  material  used  in  his  chosen  art  or  pro- 
fession, but  learn  to  appl_y  the  laws  of  the  beautiful  in  his 
work.  To  enrich  his  fancy  and  strengthen  his  imagina- 
tion, he  should  devote  himself,  according  to  inclination,  to 
the  study  of  archeology,  history,  natural  science,  or  litera- 
ture. The  study  of  the  history  of  culture  cannot  be  too 
highly  commended.  The  history  of  art  and  the  master- 
pieces of  the  great  poets  of  ancient  and  modern  times 
should  be  studied  to  enlarge  the  mind,  enrich  the  imagin- 
ation and  purify  the  taste.  From  the  history  of  art  he 
learns  the  causes  which  have  determined  the  rise  and  fall 
of  art  in  the  different  periods;  it  becomes  his  guide  in  the 
choice  of  subjects  and  creates  an  ideal  by  which  he  is 
enabled  to  judge  his  own  productions  correctly. 

2.      WHAT  TO  STUDY. 

"  Power  to  design  seems  to  be  incommunicable;  because 
in  proportion  as  the  motive  or  inspiration  is  conveyed 
from  one  to  another,  it  results  in  reproduction  rather  than 
originality.  The  infinite  resources  of  nature  in  the  two 
directions  of  form  and  color,  and  the  laws  upon  which 
they  are  displayed,  constitute  one  portion  of  the  study  of 
design;  the  application  or  disregard  of  those  laws  in  the 
works  of  those  who  have  gone  before  us,  so  far  as  we  can 
now  ascertain  them,  is  the  second  part;  thus  we  acquire  a 
knowledge  of  natural  principles  and  their  historical  treat- 
ment; for  the  surest  foundation  of  originality  is  extensive 
knowledge,  combined  with  great  executive  power  and 
imagination,  which,  if  the  necessary  creative  impulse  should 
seize  upon,  may  result  in  the  conception  of  original  works. 
The  only  instruction,  therefore,  that  can  be  given  to  the 
student  of  design,  likely  to  be  of  use  to  him,  will  be  to 
direct  his  attention  to  natural  laws  and  beauties,  and  to 
analyze  with  him  the  peculiarities  of  standard  examples 
of  good  designs,— generally   accepted    specimens  which 


exhibit  the  qualities  of  adaptation  to  purposes,  skilfiilness 
of  treatment,  and  a  pure  imagination." — Walter  Smith. 

3.      PRINCIPLES   OF    COMPOSITION. 

"  Composition  should  have  its  laws,  or  it  would  be 
only  a  fancy  and  a  caprice.  Now,  without  considering 
what  concerns  painting,  sculpture  and  music  (although  it 
may  be  possible,  it  seems  to  me,  to  define  the  rules  which 
ought  to  enter  into  the  compositions  of  musicians,  sculp- 
tors and  painters,  in  the  matter  of  aits  applied  to  archi- 
tecture and  various  industries),  it  is  evident  that  compo- 
sitions should  have  reference  to  two  elements, — the  mate- 
rial made  use  of,  and  the  processes  that  can  be  applied  to  it. 
The  composition  of  a  work  requiring  melted,  wrought,  or 
forged  metal,  would  not  suit  one  which  employs  wood, 
marble,  stone,  or  terra-cotta.  Each  industry  or  each  pro- 
cess of  manufacturing  ought  necessarily  to  possess  a 
method  of  composition  which  shall  be  appropriate  to  the 
material  made  use  of  in  it,  and  to  the  manner  in  which  it 
is  worked.  The  beatdiful  examples  of  past  centuries,  which  we 
admire,  follow  the.se  elementary  principles. 

"  To  teach  composition,  you  must  first  define  these  prin- 
ciples. The  mistake  in  the  instruction  given  in  our 
schools  has  been  in  always  presenting  works  that  are 
indisputably  beautiful  to  the  pupils,  without  ever  indicat- 
ing to  what  they  are  applied,  of  what  material  they  are 
made,  and  what  are  the  processes  employed  by  the  artists 
or  artisans  who  produced  them,  and  what  is  their  place 
and  purpose. 

"Thus  it  happens  that,  in  the  majority  of  our  produc- 
tions belonging  to  what  is  called  indxistrial  art,  the  most 
singular  transpositions  are  brought  to  the  attention. 

"  In  these  matters,  the  want  of  a  good  education  causes 
the  reproduction  in  wood  of  works  which  belong  more 
particidarly  to  molten  metal;  and,  in  marble  or  stone,  of 
forms  belonging  to  stucco.  In  the  composition  of  what- 
ever relates  to  architecture  and  common  articles,  such  as 
furniture,  utensils,  jewels,  and  gold  and  silver  work,  the 
first  condition  is  to  notice  the  particular  properties  in  the 
material  employed,  and  the  mode  of  employing  it,  or  the 
way  it  can  be  manufactured.  For  want  of  observation  of 
these  prinidples,  one  produces  works  that  not  only  violate 
the  most  simple  rules  of  good  sense,  but  do  not  please, 
and  offend  reason  as  well  as  taste,  and  which  weary  with 
their  monotony.  The  charm  of  the  best  works  of  antiquity 
lies  in  their  variety  of  form,  the  result  of  the  nature  of  the 
material  employed,  and  the  way  it  is  treated. 

"The  first' condition  of  composition  is  a  knowledge  of 
materials  and  their  proper  manufacture." — -Violet  le  Due. 


tii'x'ijpAui}-:^^ 


BY    CHAS.    F.    ZIMMERMANN. 


( )  Homer  and  Hesiod,  as  well  as  to  the  Greeks  universally, 
Zeus  is  the  great  and  predominant  god,  "  the  father  of 
gods  and  men,"  whose  power  none  of  the  otlier  gods  can 
hope  to  resist,  or  even  deliberately  think  of  questioning. 
All  the  other  gods  have  their  specific  potency  and  pecu- 
liar sphere  of  action  and  duty,  with  which  Zeus  does  not 
usually  interfere  ;  but  it  is  he  who  maintains  the  linea- 
ments of  a  providential  superintendence,  as  well  over 
phenomena  of  Olympus  as  over  those  of  earth.  Zeus 
and  his  brothers,  Poseidon  and  Hades,  have  made  a  ilivision  of 
])ower  ;  he  has  reserved  the  ether  and  the  atmosphere  to  him- 
self— Poseidon  has  obtained  the  sea — and  Hades  the  under- 
world or  infernal  regions ;  while  earth,  and  the  events  which 
pass  upon  earth,  are  common  to  all  of  them,  together  with  free 
access  to  Olympus. 

"The  inmates  of  this  divine  world  are  conceived  upon  the 
model,  but  not  upon  the  scale,  of  the  human.  They  are  actuated 
by  the  full  play  and  variety  of  those  appetites,  sympathies,  pas- 
sions, and  aflections  which  divide  the  soul  of  man  ;  invested 
with  a  far  larger  and  indeterminate  measure  of  power,  and  an 
exemption  as  well  from  death  as  (with  some  rare  exceptions) 
from  suffering  and  infirmity.  The  rich  and  diverse  types  thus 
conceived,  full  of  energetic  movement  and  contrast,  each  in  his 
own  province,  and  soaring  confessedly  above  the  limits  of 
experience,  were  of  all  themes  the  most  suitable  for  adventure 
and  narrative,  and  operated  with  irresistible  force  upon  the 
(jrecian  fancy.  All  nature  was  then  conceived  as  moving  and 
working  through  a  number  of  personal  agents,  among  whom 
the  gods  of  Olympus  were  the  most  conspicuous  ;  the  reveren- 
tial belief  in  Zeus  and  Ajxdlo  being  only  one  branch  of  this 
omnipresent  personifying  faith.  The  attributes  of  all  these 
agents  had  a  tendency  to  expand  themselves  into  illustrative 
legends — especially  those  of  the  gods,  who  were  constantly 
invoked  in  the  public  worship.  Out  of  the  same  mental  source 
sprang  both  the  divine  and  heroic  myths,  the  former  being  often 
the  more  extravagant  and  abnormous  in  their  incidents,  in  pro- 
portion, as  the  general  type  of  the  gods  was  more  vast  and 
awful  than  that  of  the  heroes. 

"As  the  gods  have  houses  and  wives  like  men,  so  the  present 
dynasty  of  gods  must  have  a  past  to  repose  upon;  and  the 
curious  and  imaginative  Greek,  whenever  he  does  not  tind  a 
recorded  past  ready  to  his  hand,  is  uneasy  until  he  has  created 
one.  Thus  the  Hesiodic  theogony  explains,  with  a  certain 
degree  of  system  and  coherence,  first,  the  antecedent  circum- 
stances under  which  Zeus  accjuired  the  divine  empire,  next  the 
number  of  colleagues  and  descendants. 

"The  divine  race,  under  the  presidency  of  Zeus,  will  give  us: 
1.    The  twelve  great  gods  and  goddesses  of  Olympus — Zeus, 
Poseidon,   Apollo,   Ares,   Hepha'Stos,   Hermes,    Here,    Athene, 
Artemis,  Aphrodite,  Hestia,  Demeter. 


2.  An  indefinite  number  of  other  deities,  not  included 
among  the  Olympic,  seemingly  because  the  number  tivelve  was 
complete  without  them,  but  some  of  them  not  inferior  in  power 
and  dignity  to  many  of  the  twelve.  Hades,  Helios,  Hekate, 
Dionysos,  Leto,  Dione,  Persephone,  Selene,  Themis,  Eos,  Har- 
monia,  the  Charities,  the  Muses,  the  Eileithyiic,  the  Mcerte,  the 
Oceanids,  and  the  Nereids,  Proteus,  Eidothea,  the  Nymphs, 
Leukothea,  Phorkys,  vEolus,  Nemesis,  etc. 

3.  Deities  who  perform  special  services  to  the  greater  gods : 
Iris,  Hebe,  the  Horse,  etc. 

4.  Deities  whose  personality  is  more  faintly  and  unsteadily 
conceived:  Ate,  the  Litse,  Eris,  Thanatos,  Hypnos,  Kratos, 
Bia,  Ossa,  etc.  The  same  name  is  here  employed  sometimes  to 
designate  the  person,  sometimes  the  attribute  or  event  not  per- 
sonified— an  unconscious  transition  of  ideas,  which,  when  con- 
sciously performed,  is  called  allegory. 

5.  Monsters,  offspring  of  the  gods:  the  Harpies,  the 
Gorgons,  the  Grrese,  Pegasus,  Chrysaor,  Echidna,  Chiniiera,  the 
Dragon  of  the  Hesperides,  Cerberus,  Orthros,  Geryon,  the 
Lernsean  Hydra,  the  Nemean  Lion,  Scylla  and  Charybdis,  the 
Centaurs,  the  Sphinx,  Xanthos  and  Balios  the  immortal 
horses,  etc. 

"  Each  god  had  many  different  surnames,  temples,  groves, 
and  solemnities,  with  each  of  which  was  connected  more  or  less 
of  mythical  narrative,  originally  hatched  in  the  prolific  and 
spontaneous  fancy  of  a  believing  neighborhood,  to  be  afterwards 
expanded,  adorned,  and  diffused  by  the  song  of  the  poet." — 
(GroU.) 

"  The  primitive  chaotic  conflicts  appear  under  the  form  of 
the  war  of  the  Titans;  their  end  is  the  confinement  of  those 
giants  in  Tartarus,  whose  compulsory  subjection  is  the  com- 
mencement of  order:  thus  Atlas,  the  son  of  lapetus,  is  made 
to  sustain  the  vault  of  heaven  in  its  western  verge.  The  moral 
is  prefigured  by  such  myths  as  those  of  Prometheus  and  Epi- 
metheus,  the  fore-thinker  and  the  after-thinker;  the  Iiistorical 
in  the  deluge  of  Deucalion,  the  sieges  of  Thebes  and  of  Troy. 
A  harmony  with  human  nature  is  established  through  the  birth 
and  marriage  of  the  gods,  and  likewise  by  their  sufterings,  pas- 
sions and  labors.  The  supernatural  is  gratified  by  Centaurs, 
Gorgons,  Harjjies  and  (!yclops. 

"  There  was  a  universal  agreement  that  heaven  was  situated 
above  the  blue  sky;  but  as  to  hell,  much  difference  of  opinion 
prevailed.  There  were  many  who  thought  that  it  was  a  deep 
abyss  in  the  interior  of  the  earth,  to  which  certain  passages, 
such  as  the  Acherusian  cave  in  Bithynia  led.  But  those  who  with 
Anaximenes  considered  the  earth  to  be  like  a  broad  leaf  floating 
in  the  air,  and  who  accepted  the  doctrine  that  hell  was  divided 
into  a  Tartarus,  or  region  of  night  on  the  left  and  an  Elysium, 
or  region  of  dawn  on  the  right,  and  that  was  equally  distant 
from  all  parts  of  the  upper  surface,  were  nearer  to  the  original 
conception,  which,  doubtless,  placed  it  on  the  under  or  shadowy 


Hi 


C.  HENNEGKE  CO.,  MILWAUKEE  AND  CHICAGO. 


side  of  the  eartli.  The  portals  of  descent  were  thus  in  the  west, 
where  the  sun  and  stars  set,  though  here  and  there  were  pas- 
sages leading  through  the  ground  to  the  other  side,  such  as 
those  by  which  Hercules  and  TJlysBes  had  gone.  The  place  of 
ascent  was  in  the  east,  and  the  morning  twilight  a  reflection 
from  the  Elysian  Fields. 

"  On  the  rim  of  the  flat  earth  is  the  circumfluous  ocean,  the 
source  of  the  rivers,  which  all  flow  to  the  Mediterranean.     '  The 
sea-girt  disk  of  the  earth  supports  the  vault  of  heaven.'    Im- 
pelled by  a  celestial  energy,  the  sun  and  stars,  issuing  forth 
from  the  east,  ascend  with  difficulty  the  crystalline  dome,  but 
down  its  descent  they  more  readily  hasten  to  their  setting.     No 
one  can  tell  what  they  encounter   in   the    land  of  shadows 
beneath,  nor  what  are  the  dangers  of  the  way.     In  the  morning 
the  dawn  mysteriously  appears  in  the  east,  and  swiftly  spreads 
over  the  confines  of  the  horizon;  in  the  evening  the  twilight 
fades  gradually  away.    Besides  the  celestial  bodies,  the  clouds 
are  continually  moving  over  the  sky,  forever  changing  their 
colors  and  their  shape.     No  one  can  tell  whence  the  wind  comes 
or  whither  it  goes;  perhaps  it  is  the  breath  of  that  invisible 
divinity  who  launches  the  lightning,  or  of  him  who  rests  his 
bow  against  the  cloud.      Not  without  delight  men  contemplated 
the  emerald  plane,  the  sapphire  dome,  the    border  of   silvery 
water,  ever  tranquil  and  ever  flowing.     Then  in  the  interior  of 
the  solid  earth,  or  perhaps  on  the  other  side  of  its  plane — under 
world,  as  it  was  well  termed — is  the  realm  of  Hades  or  Pluto, 
the   region  of  night.      From  the  midst  of  tliis  dominion,  that 
divinity,  crowned   with  a  diadem  of  ebony,  and  seated  on  a 
throne  framed  out  of  massive  darkness,  looks  into  the  infinite 
abyss  beyond,  invisible  himself  to  mortal  eyes,  but  made  known 
by  the  nocturnal  thunder,  which  is  his  weapon.    The  under 
world  is  also  the  realm  to  which  spirits  retire  after  death.    At 
its  portals,  beneath   the   setting  sun,  is  stationed  a  numerous 
tribe    of   spectres — Care,    Sorrow,    Disease,    Age,    Want,    Fear, 
Famine,  War,  Toil,  Death  and   her  half  brother  Sleep — Death, 
to  whom  it  is  useless  for  man  to  offer  either  prayers  or  sacrifice. 
In  that  land  of  forgetfulness  and  shadows  there  is  the  unnavi- 
gable  lake  Avernus,  Acheron,  Styx,  the  groaning  Cocytus,  and 
Phlegethon,  with   its   waves  of  fire.     There   are   all   kinds   of 
monsters   and    forms    of   fearful  import :     Cerberus,  with    his 
triple  head  ;  Charon,  freighting  his  boat  with  the  shades  of  the 
dead  ;    the  Fates,  in  their  garments  of  ermine  bordered  with 
purple  ;  the  avenging  Erinnys  ;    Rhadamanthus,  before   whom 
every  Asiatic  must  render  his  account ;    JSacus,  before   whom 
every  European  ;  and  Minos,  the  dread  arbiter  of  the  judgment 
seat.    There,  too,  are  to  be  seen  the  great  criminals  whose  his- 
tory is  a  warning  to  us  :    the  giants,  with  dragon's  feet  extended 
in  the  burning  gulf  for  many  a  mile  ;  Phlegyas,  in  perpetual  ter- 
ror of  the  stone  suspended  over  him,  which  never  falls  ;  Ixion, 
chained  to  his  wheel ;  the  daughters  (jf  Danaus  still  vainly  try- 
ing to  fill  their  sieve  ;  Tantalus,  immersed  in  water  to  his  chin, 
yet  tormented  with  unquenchable  thirst ;  Sisyphus  despairingly 
laboring  at  his  ever-descending  stone.      Warned  by  such  ex- 
amples, we  may  learn  not  to  contemn  the  gods. 

"  The  wanderings  of  Odysseus  and  the  voyage  of  Jason  and 
his  heroic  comrades  in  the  ship  Argo,  when  they  went  to  seize 
the  golden  fleece  of  the  speaking  ram,  are  full  of  mysteries  and 
marvels. " — ( Draper. ) 

With  few  exceptions  the  Roman  names  of  deities  and  heroes 
are  used,  in  preference  to  their  Greek  synonyms.  For  the 
convenience  of  those  familiar  with  one  name  only,  the  following 
list  is  appended. 


THE   GODS   OF   OLYMPUS. 


(Greek.) 

(Roman.) 

Zeus, 

Jupiter, 

The  ruler  of  heaven  and  earth. 

Hephrestus, 

Vulcanus, 

The  god  of  fire  and  the  forge. 

Here, 

Juno, 

Queen  of  heaven. 

Pallas  Athene, 

Minerva, 

Goddess  of  wisdom. 

Phoibos  ApoUon,  Phoebus  Apollo, 

Presiding  deity  of  various  arts 

and  protector  of  the  muses. 

Artemis, 

Diana, 

A  virgin  goddess  who  presides 
over  hunting,  chastity,  and 
marriage. 

Ares, 

Mars, 

The  god  of  war. 

Aphrodite, 

Venus, 

Goddess  of  beauty  and  love. 

Hermes, 

Mercurius, 

The  ambassador  of  the  gods. 

Hestia, 

Vesta, 

The  goddess  of  the  family 
hearth. 

Eros, 

Amor — Cupido, 

God  of  love. 

Nike, 

Victoria, 

Winged  attendant  on  the  su- 
perior deities. 

Hebe, 

Juventas, 

Cup-bearer  of  the  gods. 

Helios, 

Sol, 

The  sungod. 

Selene, 

Luna, 

The  moon. 

Eos. 

Aurora. 

Goddess  of  the  dawn. 

Besides  these  there  were  the  Muses,  daughters  of  Zeus.  They 
are  named  Polyhymnia,  the  muse  of  the  grave  chant  of  religious 
music;  Calliope,  the  muse  of  epic  poetry  and  science  generally; 
Clio,  the  muse  of  history;  Euterpe,  the  muse  of  lyric  poetry; 
Melpomene,  the  muse  of  tragedy;  Terpsichore,  the  muse  of 
dancing;  Erato,  the  muse  of  erotic  poetry,  together  with  geom- 
etry and  the  mimic  art;  Thalia,  the  muse  of  comedy;  Urania,  the 
muse  of  astronomy. 

The  Charities  or  Graces,  generally  appear  in  attendance  upon 
the  gods;  their  names  are  Aglaia,  Euphrosyne  and  Thalia. 

Themis  and  her  three  daughters,  the  Horfe  (Seasons) — 
Eunomia,  Dike  and  Irene,  represent  the  regular  march  of  nature 
in  the  changes  of  the  seasons.  The  four  chief  winds  were  the 
sons  of  Eos.  They  are  named  Boreas,  or  Aquilo,  the  rude  north 
wind;  the  Zephyrus,  the  welcome  messenger  of  spring;  Notus, 
the  south  wind ;  and  Eurus,  the  east  wind. 


OTHER   1 

GODS. 

(Greek.) 
Poseidon, 

(Roman.) 
Neptunus, 

The  mighty  ruler  of  the  sea. 

Amphitrite, 
Gfea, 

Salacia, 
Tellus, 

The  wife  of  Neptune. 
Mother  earth. 

Rhea, 
Dionysus, 
De  meter, 

Persephone,  Kora, 
Hades, 

Cybele, 

Bacchus, 

Ceres, 

Proserpina, 

Pluto, 

Mighty  mother. 
The  god  of  wine. 
Protectress  of  agriculture. 
Goddess  of  vegetation. 
The  ruler  of  the  lower  world. 

Hekate, 

Rules  over  the  secret  forces 

Asklepius, 

.iEsculapius, 

of  nature. 
The   god    of  the   healing 

art. 

Hygiea  was  the  goddess  of  health.  She  was  described  as 
the  daughter  of  .^Esculapius.  Nemesis  was  regarded  as  the 
goddess  of  equality,  and  sees  that  happiness  and  misfortune  are 
allotted  to  man  according  to  merit.  Tyche  was  the  goddess  of 
good  fortune.  Besides  Fortuna,  the  Romans  honored  a  deity 
called  Felicitas,  as  the  goddess  of  positive  good  fortune. 
The    Tritons    were    sea-deities   of    fantastic   form.       Nereus, 


GRECIAN  MYTHOL  OGY. 


Uii 


the  son  of  Pontus  (the  sea),  represents  the  sea  in  a  quiet  state. 
Ino,  afterward  named  Leucothea,  was  regarded  as  a  benevolent 
sea-deity.  The  Sirens  were  also  sea-deities,  whose  songs  were 
death  to  those  who  were  seduced  by  them.  The  Oceanids  were 
the  numerous  descendants  of  Oceanus.  The  Nymphs  were 
tender,  graceful  maidens,  who  preferred  the  peaceful  solitude  of 
the  woods  and  mountains  to  the  habitations  of  man.  The  Satyrs 
(Fauni)  were  sensual  wood  and  mountain  spirits  following  in 
the  train  of  Dionysus.  Silenus,  an  old  satyr,  tended  and  brought 
up  Dionysus.  Pan  was  a  very  ancient  god  of  the  woods  and 
meadows.  The  Erinyes  (Furise)  executed  the  commands  of 
Hades  and  Persephone. 

THE  HEROES. 

In  Homer's  account  of  the  Centaurs,  they  are  not  demons, 
but  an  old  Thessalian  mountain  tribe  of  giant  strength  and 
savage  ferocity,  utterly  unable  to  control  their  rude,  sensual 
nature.  Tliey  are  celebrated  in  ancient  story  for  their  fight 
with  the  Lapithse,  which  arose  at  the  marriage  feast  of  Pirithous. 
It  ended  by  the  Centaurs  being  expelled  from  their  country, 
and  taking  refuge  on  Mount  Pindus,  on  the  frontiers  of  Epirus. 
Chiron  is  the  most  celebrated  among  the  Centaurs.  We  know- 
that  hunting  the  bull  on  horseback  was  a  national  custom  in 
Thessaly,  and  that  the  Thessalians  were  celebrated  riders. 
Hence  may  have  arisen  the  fable  that  the  Centaurs  (Bull-Killers) 
were  half  men  and  half  horses,  just  as  the  American  Indians 
when  they  first  saw  a  Spaniaril  on  horseback,  believed  horse 
and  man  to  be  one  being.  The  Centaurs  are  frequently  repre- 
sented in  ancient  works  of  art,  and  generally  as  men  from  the 
head  to  the  loins,  while  the  remainder  of  the  body  is  that  of  a 
horse,  with  its  four  feet  and  tail. 

The  celebrated  legend  of  Cadmus  relates  the  founding  of 
Thebes.  When  Europa  was  carried  off  by  Zeus  (Jupiter)  to  Crete, 
Agenor  sent  Cadmus  in  search  of  his  sister,  enjoining  him  not  to 
return  without  her.  Unable  to  find  her  he  settled  in  Thrace  ; 
but  having  consulted  the  oracle  at  Delphi,  he  was  commanded 
by  the  god  to  follow  a  heifer  of  a  certain  kind,  and  to  build  a 
town  on  the  spot  where  the  heifer  should  lie  down  with  fatigue. 
He  found  the  heifer  in  Phocis  and  followed  her  to  Boeotia,  where 
she  sank  down  on  the  spot  on  which  Cadmus  build  Cadmea, 
afterwards'  the  citadel  of  Thebes.  Intending  to  sacrifice  the 
heifer  to  Athena  (Minerva),  he  sent  some  persons  to  a  neighbor- 
ing well  where  they  were  slain  by  a  dragon  belonging  to  Ares 
(Mars),  who  guarded  the  spring.  Thereupon  Cadmus  slew  the 
dragon,  and,  on  the  advice  of  Athena,  sowed  the  teeth  of  the 
monster,  out  of  which  armed  men  grew  up,  who  killed  each  other, 
with  the  exception  of  five,  who  were  the  ancestors  of  the  Thebans. 
Cadmus  and  his  wife  Harmonia  were  afterwards  changed  into 
serpents  and  removed  by  Zeus  to  Elysium.  Cadmus  is  said  to 
have  introduced  into  Greece,  from  Phuunicia,  or  Egypt,  an  alpha- 
bet of  sixteen  letters. 

The  lamentable  fate  of  Actseon  has  always  been  a  favorite 
subject  for  sculpture.  Action  had  been  trained  by  Chiron  as  a 
hunter  and  warrior.  When  he  had  hardly  reached  the  prime  of 
his  youth,  being  out  hunting  one  day  on  Mount  Citha^ron,  he 
was  transformed  by  Artemis  into  a  stag,  and  was  torn  in  pieces 
by  his  own  (iogs.  He  had  incurred  the  displeasure  of  the  chaste 
goddess  and  was  thus  punished  by  her. 

Another  tragedy,  the  punishment  of  Dirce,  is  related. 
Antiope,  the  mother  of  Amphion  andZethus,  having  been  taken 
prisoner  by  Lycus,  was  obliged  to  submit  to  the  most  harsh  and 
humiliating  treatment  at  the  hands  of  his  wife  Dirce.   At  length 


she  managed  to  escape,  and  by  a  wonderful  chance  discovered 
her  sons,  who  had  grown  into  sturdy  youths.  The  story  of  her 
wrongs  so  enraged  them  that  they  resolved  to  wreak  vengeance 
on  Dirce.  After  having  taken  Thebes  and  killed  Lycus,  they 
bound  Dirce  to  the  horns  of  a  wild  bull,  which  dragged  her  about 
until  she  perished.  Her  mangled  remains  they  cast  into  a  spring 
near  Thebes,  which  was  henceforth  called  the  fountain  of  Dirce. 

Amphion  is  further  celebrated  on  account  of  the  melan- 
choly fate  of  his  sons  and  daughters.  He  married  Niobe,  the 
daughter  of  Tantalus,  king  of  Phrygia.  Proud  of  the  number 
of  her  children,  she  deemed  herself  superior  to  Leto  (Latona), 
who  had  given  birth  to  only  two  children.  For  this  presumption 
her  children  were  slain  by  Apollo  and  Diana,  and  she  was  changed 
into  stone.  Amphion  slew  himself.  Zeth.u8  was  also  unfortunate 
in  his  domestic  affairs.  Aedon,  his  wife,  jealous  of  the  Niobe  in 
having  so  many  beautiful  children,  while  she  had  an  only  son, 
Itylus,  resolved  one  night  to  slay  the  eldest  son  of  Niobe.  But 
by  mistake  she  killed  her  own  child.  Zeus  took  compassion 
on  her,  and  changed  her  into  a  nightingale.  In  this  guise  she 
continues  to  bewail  her  loss  in  long-drawn  mournful  notes. 

One  of  the  national  heroes  of  Corinth  was  Belleroph.on. 
Being  obUged  to  leave  Corinth  he  was  hospitably  received  by 
Prtetus,  king  of  Tiryns,  whose  wife  falling  in  love  with  him, 
and  finding  her  passion  slighted,  slandered  him  before  her  hus- 
band. Proetus  sent  Bellerophon  at  once  to  lobates,  king  of 
I>ycia,  to  have  him  put  to  death.  lobates  sought  to  fulfill  the 
command  of  Proetus  by  involving  his  guest  in  all  kinds  of 
desperate  adventures.  He  sent  him  to  destroy  the  Chimjera,  a 
dangerous  monster  that  devastated  the  land.  Bellerophon 
destroyed  the  monster  by  raising  liimself  in  the  air  on  liis 
winged  horse  Pegasus,  and  shooting  it  with  his  arrows. 

lobates  now  sent  Bellerophon  to  subdue  a  neighboring 
hostile  mountain  tribe,  which  he  accomplished  ;  and  then 
against  the  warlike  Amazons,  a  nation  of  women,  trained  from 
their  earliest  youth  in  all  warlike  exercises.  Returning  in 
triumph  from  this  expedition,  his  life  was  attempted  once  more 
by  being  sur])rised  by  an  ambuscade.  Bellerophon,  however, 
escaped,  and  slew  all  lus  assailants.  lobates  now  gave  him  his 
daughter  in  marriage  and  a  share  in  his  reign.  Later  in  life 
Bellerophon  was  seized  with  madness,  and  wandered  about 
alone,  fleeing  the  society  of  man,  until  he  at  length  perished 
miserably. 

The  story  of  Perseus  is  one  of  the  Argive  legends.  Acrisius, 
tlie  grandfather  of  Perseus,  had  him  and  liis  mother,  DanaP,  con- 
fined in  a  chest  and  cast  into  the  sea,  because  the  oracle  had 
told  him  that  he  was  doomed  to  perish  by  tlie  hands  of  this 
grandson.  The  cliest  was  cast  by  the  waves  on  the  rocky 
island  of  Seriphus,  where  it  was  found  by  a  fisherman.  Danae 
and  young  Perseus  were  well  cared  for  here.  Subsequently 
Polydectes,  the  governor  of  the  island,  wished  to  marry  DanaP, 
and  on  her  rejecting  him,  made  her  his  slave.  When  Perseus 
was  grown  up,  I'olydectes  dispatched  him  to  bring  the  head  of 
the  Gorgon  Medusa.  In  this  perilous  adventure  he  was  aided 
by  Hermes  and  Athena.  Perseus  first  went  to  the  Grsese,  the 
sisters  of  the  Gorgons,  took  from  them  their  one  tooth  and 
their  one  eye,  and  woidd  not  restore  them  until  they  showed  liini 
the  way  to  the  Nymphs,  who  possessed  the  winged  sandals,  the 
magic  wallet,  and  the  helmet  of  Hades  (Pluto),  which  rendered 
tlie  wearer  invisible.  Having  received  from  the  Nymphs  these 
invaluable  presents,  from  Hermes  a  sickle,  and  from  Athena  a 
mirror,  lie  mounted  into  the  air,  and  arrived  at  the  abode  of 
the  Gorgons,  who  dwelt  near  Tartessus,  on  the  coast  of  the 
ocean.     He  found  them  asleep,  and  cut  oft' the  head  of  Medusa, 


liv 


C.  HENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


looking  at  her  figure  in  the  mirror,  for  a  sight  of  the 
monster  herself  would  have  changed  him  into  stone.  Perseus 
put  her  head  into  the  wallet  which  he  carried  on  his  back,  and 
as  he  went  away  he  was  pursued  by  the  other  two  Gorgons  ; 
but  his  helmet,  which  rendered  him  invisible,  enabled  him  to 
escape  in  safety.  Perseus  then  proceeded  to  Ethiopia,  where 
he  saved  and  married  Andromeda.  Perseus  is  also  said  to  have 
changed  Atlas  into  the  mountain  of  the  same  name  by  means 
of  the  Gorgon's  head.  On  his  return  to  Seriphus  he  found  that 
his  mother  had  taken  refuge  in  a  temple  to  escape  the  violence 
of  Polydectes.  .  He  hastened  to  the  palace  of  Polydectes  and 
metamorphosed  him  and  all  his  guests  into  stone.  He  then 
gave  the  head  of  the  Gorgon  to  Athena,  who  placed  it  in  the 
middle  of  her  shield  or  breastplate.  Perseus  subsequently  went 
to  Argos.  Acrisius,  remembering  the  oracle,  escaped  to  Larissa, 
whither  Perseus  followed  him  in  disguise  to  persuade  him  to 
return.  On  his  arrival  at  Larissa,  he  took  part  in  the  public 
games,  and  accidentally  killed  Acrisius  with  the  discus.  Perseus 
is  said  to  have  founded  Mycense. 

The  Dioscuri,  that  is,  the  sons  of  Zeus,  the  well-known 
heroes.  Castor  and  Pollux,  were  called  by  the  Greeks  Polydeuces, 
by  the  Romans  Oastores.  Castor  was  famous  for  his  skill  in 
taming  and  managing  horses,  and  Pollux  for  his  skill  in  boxing. 
The  fabulous  life  of  the  Dioscuri  is  marked  by  three  great 
events.  1.  Their  expedition  against  Athens,  where  they  rescued 
their  sister  Helen,  who  had  been  carried  off  by  Theseus.  2.  Their 
part  in  the  expedition  of  the  Argonauts,  during  which  Pollux 
in  a  boxing  match,  killed  Amyeus,  king  of  Bebryces.  3.  Their 
battle  with  the  sons  of  Aphareus,  Idas  and  Lynceus.  Castor, 
the  mortal,  fell  by  the  hand  of  Idas,  but  Pollux  slew  Lynceus, 
and  Zeus  killed  Idas  by  a  flash  of  lightning.  At  the  request  of 
Pollux,  Zeus  allowetl  him  to  share  his  brother's  fate,  and  to  live 
alternately  one  day  under  the  earth,  and  the  other  in  the 
heavenly  abodes  of  the  gods.  According  to  a  different  form  of 
the  story,  Zeus  rewarded  the  attachment  of  the  brothers  by 
placing  them  among  the  stars  as  Gemini. 

Of  all  the  Greek  myths,  the  myth  of  Herakles  (Hercules)  is 
the  most  glorious.  The  first  proof  of  his  divine  origin  was  in  tlie 
strangling  of  two  serpents  sent  to  destroy  him,  when  he  was  but 
a  babe.  He  was  a  shepherd  until  he  was  eighteen.  After 
attaining  his  growth  he  slew  the  lion  of  Cithaeron,  and  led  a  suc- 
cessful expedition  against  the  King  of  Orchomenus,  freeing  the 
Thebans  from  future  tribute.  AVe  will  here  give  a  brief  outline 
of  his  twelve  labors  imposed  upon  him  by  Eurystheus,  after  he 
had  consulted  the  oracle  of  Delphi.  The  first  labor  was  the  slay- 
ing of  the  Nemrean  lion,  which  lived  in  the  valley  of  Nema'a,  be- 
tween Cleonse  and  Pldius.  After  using  in  vain  his  club  and  arrows 
against  the  lion,  he  drove  him  into  a  cave  and  there  strangled 
the  animal  with  his  own  hands.  He  returned  to  Eurystheus,  car- 
rying the  dead  lion  on  his  shoulders.  His  second  labor  was  the 
fight  against  the  Lernean  hydra.  This  monster  ravaged  the 
country  of  Lerna,  near  Argos,  and  dwelt  in  a  swamp  near 
the  well  of  Amymone.  It  had  nine  heads,  of  which  the  middle 
one  was  immortal.  Hercules  struck  off  its  heads  with  his  club; 
but  in  the  place  of  the  head  he  cut  off,  two  new  ones  grew  forth 
each  time.  However,  with  the  assistance  of  his  servant,  lolaus, 
he  burned  away  the  heads  of  the  hydra  and  buried  the  ninth, 
or  immortal  one,  under  a  huge  rock.  Having  conquered  the 
monster,  he  poisoned  his  arrows  with  its  bile,  whence  the 
wounds  inflicted  by  them  became  incurable.  His  third  labor 
was  the  capture  of  the  Arcadian  stag.  This  animal  had  golden 
antlers  and  brazen  feet.     Hercules  pursued  it  in  vain  for  a  whole 


year;  at  length  he  wounded  it  with  an  arrow,  caught  it,  and 
carried  it  away  on  his  shoulders.  His  fourth  labor  was  the 
destruction  of  the  Erymanthian  boar.  Hercules  chased  it 
through  the  deep  snow,  and  having  thus  tired  it  out,  he  caught 
it  in  a  net,  and  carried  it  to  Eurystheus.  In  his  pursuit  of  the 
boar,  Hercules  came  upon  the  Centaur  Pholus,  who  received 
him  kindly.  Pholus  had  received  a  cask  of  excellent  wine  from 
Bacchus,  which  Hercules  opened  contrary  to  the  wishes  of  his 
host.  The  sweet  fragrance  of  the  wine  attracted  the  other 
Centaurs,  who  besieged  the  grotto  of  Pholus.  Hercules,  how- 
ever, drove  them  back  with  arrows  and  firebrands,  and  com- 
pletely vanquished  them  after  a  terrible  fight.  Cliiron  and 
Pholus  were  also  accidentally  killed.  The  fifth  labor  of  Her- 
cules was  the  cleansing  of  the  stables  of  Augeas,  king  of  Elis. 
Augeas  had  a  herd  of  3,000  oxen,  whose  stall  had  not  been 
cleansed  for  thirty  years.  Hercules  agreed  to  cleanse  the  stables 
in  one  day,  and  was  to  receive  from  Augeas  a  tenth  part  of  his 
cattle.  Hercules  turned  the  rivers  Alpheus  and  Peneus  through 
the  stalls,  which  were  thus  cleansed  in  a  single  day;  but  Augeas 
refused  to  give  him  the  reward.  Hercules  subsequently  invaded 
Elis,  and  killed  Augeas  and  his  sons.  After  this  he  is  said  to 
have  founded  the  Olympian  games.  The  sixth  labor  of  Her- 
cules was  the  destruction  of  the  Stymphalian  birds.  These 
voracious  birds  had  been  brought  up  by  Ares.  They  had  brazen 
claws,  wings  and  beaks,  used  their  feathers  as  arrows,  and  ate 
human  flesh.  They  dwelt  on  a  lake  near  Stymphalus,  in 
Arcadia,  from  which  Hercules  was  ordered  by  Eurystheus  to 
expel  them.  Athena  provided  him  with  a  brazen  rattle,  by  the 
noise  of  which  he  startled  the  birds;  and  as  they  attempted  to 
fly  away,  he  killed  them  with  his  arrows.  According  to  some 
accounts,  he  only  drove  the  birds  away,  and  they  appeared 
again  in  the  island  of  Aretias,  where  they  were  found  by  the 
Argonauts.  Hecules'  seventh  labor  was  the  capture  of  the 
Cretan  bull.  The  bull  had  been  sent  out  of  the  sea  by  Poseidon 
that  Minos  might  sacrifice  it.  But  charmed  by  the  beauty  of 
the  animal,  Minos  kept  it  and  offered  another  in  its  stead; 
whereupon  Poseidon  drove  the  bull  mad,  and  caused  it  to  com- 
mit great  havoc  in  the  island.  Hercules  caught  the  bull  and 
brought  it  home  on  his  shoulders;  but  Eurystheus  afterward  set 
it  free  again.  The  bull  now  roamed  through  Greece,  and  at  last 
came  to  Marathon,  where  it  appears  later,  in  the  story  of  The- 
seus, as  the  bull  of  Marathon.  The  eighth  labor  of  Hercules 
was  the  capture  of  the  mares  of  the  Thracian  Diomedes.  These 
horses  were  fed  on  human  flesh,  Diomedes  causing  all  strangers 
cast  upon  his  coasts  to  be  given  to  these  wild  mares.  Hercules 
seized  the  animals,  defeated  the  Bistones  and  their  king,  Dio- 
medes, whose  body  he  threw  before  the  mares,  and  then 
returned  to  Eurystheus  with  the  mares,  which  had  become  tame 
after  eating  the  flesh  of  their  master.  The  ninth  labor  of  Her- 
cules was  the  seizure  of  the  girdle  of  Hippolyte,  the  queen  of  the 
Amazons.  The  daughter  of  Eurystheus  was  anxious  to  obtain 
the  girdle  which  Hippolyte  had  received  from  Ares,  and  Hercu- 
les was  sent  to  get  it.  After  various  adventures  in  Europe  and 
Asia,  he  at  length  came  to  the  country  of  the  Amazons,  and 
having  obtained  the  favor  of  their  queen,  she  consented  to  give 
him  the  girdle.  Bnt  Here,  in  the  guise  of  an  Amazon,  excited 
the  Amazons  against  him,  and  in  the  contest  that  ensued,  Hip- 
polyte was  slain  by  Hercules,  who  secured  the  girdle  and 
departed.  On  his  return  home  he  rescued  Hesione  from  the 
monster  sent  against  her  by  Poseidon,  and  for  this  service,  her 
father,  Laomedon,  promised  him  the  horses  he  had  received 
from  Zeus  as  a  compensation  for  the  loss  of  Ganymedes.     But, 


GRECIAN  MYTHOLOGY. 


Iv 


as  Laomedon  proved  false  to  his  word,  Hercules  on  leaving 
threatened  to  make  war  against  Troy,  a  threat  which  he  after- 
wards carried  into  execution.  The  tenth  labor  of  Hercules  was 
the  capture  of  the  oxen  of  Geryones  in  Erythia.  The  oxen  of 
Geryones,  a  monster  with  three  bodies,  were  guarded  by  the 
giant  Eurytion  and  the  two-headed  dog,  Orthrus,  and  Hercules 
was  commanded  to  fetch  them.  He  undertook  this  long  jour- 
ney, meeting  with  numerous  adventures  on  the  way.  To  cross 
the  sea,  ho  forced  Helios  to  lend  him  a  golden  boat,  by  shooting 
at  him  with  his  arrows.  Having  reached  Erythia,  identified  as 
Gades,  or  the  Balearic  islands,  he  killed  the  herdsman  who  was 
keeping  the  oxen,  together  with  his  dog,  and  the  monster  Ge- 
ryones. He  sailed  with  his  booty  to  Tartessus,  where  he  returned 
the  golden  boat  to  Helios.  On  his  homeward  journej'  many 
attempts  were  made  to  deprive  him  of  the  oxen,  but  he  brought 
them  safely  to  Eurystheus,  who  sacrificed  them  to  Hera.  The 
eleventh  labor  of  Hercules  was  to  fetch  the  golden  apples  of 
the  Hes])erides.  Hera  had  received  them  from  Ga;  at  her  wed- 
ding, and  had  entrusted  them  to  the  keeping  of  the  Hes- 
perides  and  the  dragon  Ladon,  on  Mount  Atlas,  in  the  country 
of  the  Hyperboreans.  On  arriving  at  Mount  Atlas,  Hercules 
sent  Atlas  to  fetch  the  apples,  and  in  the  meantime  bore  the 
weight  of  heaven  for  him.  Atlas  returned  with  the  apples,  but 
refused  to  take  the  burden  of  the  heavens  on  his  shoulders 
again.  Hercules,  apparently  agreeing,  asked  Atlas  to  relieve 
him  until  he  had  arranged  more  comfortably  a  cushion  for  his 
back.  When  Atlas  consented,  Hercules  left  him  in  his  former 
position,  and  made  off  with  the  apples.  The  twelfth  labor  of 
Hercules  was  the  bringing  of  Cerberus  from  the  lower  world. 
He  decended  into  Hades,  accompanied  by  Hermes  and  Athena. 
He  delivered  Theseus  and  Ascalaphus  from  their  torments. 
Pluto  granted  him  permission  to  take  Cerberus  to  the  upper 
world,  provided  it  was  done  without  the  force  of  arms.  Hercules 
seized  the  furious  beast,  and  having  chained  him,  he  brought 
him  to  Eurystheus,  and  afterward  carried  it  back  again  to  the 
lower  world.  After  Hercules  had  performed  the  twelve  labors, 
he  was  released  by  Eurystheus  and  returned  to  Thebes. 

Theseus  is  the  national  hero  of  the  lonians,  just  as  Hercules 
is  of  the  vEolians.  There  is  no  great  undertaking  of  antiquity 
in  which  Theseus  is  not  supposed  to  have  taken  part.  He  was 
brought  up  at  Troezen,  and  at  sixteen  his  mother  took  him  to 
the  stone  where  his  father,  jEgeus,  had  left  his  sword  and 
sandals.  Theseus,  with  a  slight  effort,  raised  the  stone  and 
took  the  tokens  to  Athens.  On  his  way  he  destroyed  the  rob- 
bers and  monsters  that  infested  the  country.  Theseus  next 
captured  the  Marathonian  bull,  which  had  long  been  the  terror 
of  the  surrounding  country.  After  this  he  went  of  his  own 
accord  as  one  of  the  seven  youths  whom  the  Athenians  were 
obliged  to  send  every  year,  with  seven  maidens,  to  Crete,  in 
order  to  be  devoured  by  the  Minotaur.  With  the  aid  of  a  clew 
of  thread  which  Ariadne,  the  daughter  of  Minos,  gave  him,  he 
was  able  to  find  his  way  out  of  the  labyrinth  after  he  slew  the 
Minotaur.  Having  effected  his  object  he  sailed  away,  carrying 
off  Ariadne,  whom  he  deserted  at  Naxos.  As  the  vessel  in  which 
Theseus  sailed  approached  Attica,  he  neglected  to  hoist  the 
white  sail,  which  was  to  have  been  the  signal  of  the  success  of 
the  expedition,  whereupon  ^Egeus,  believing  that  his  son  had 
perished,  thew  himself  into  the  sea.  One  of  the  most  cele- 
brated of  his  adventures  was  his  expedition  against  the  Ama- 
zons. It  is  said  that  he  made  war  upon  them  soon  after  Hercu- 
les had  assailed  them,  and  he  carried  off  their  queen,  Antiope. 
The  Amazons  then  invaded  Attica,  and  the  final  battle  in  which 


Theseus  defeated  them,  was  fought  in  the  heart  of  the  city  of 
Athens.  Theseus  was  one  of  the  Argonauts ;  joined  in  the 
Calydonian  hunt ;  aided  Pirithous  against  the  Centaurs,  and 
with  his  assistance,  carried  off  Helen  from  Sparta,  and  the  two 
attempted  to  carry  Persephone  from  the  lower  world.  Pirithous 
perished  in  the  enterprise,  and  Theseus  was  kept  in  hard 
durance  until  delivered  by  Hercules. 

The  story  of  Meleager  and  the  Calydonian  boar  hunt  is,  no 
doubt,  a  provincial  myth.  CEneus,  king  of  Calydon  in  jEtolia, 
on  the  occasion  of  a  great  festival,  had  either  accidentally  or 
purposely  omitted  to  sacrifice  to  Artemis.  To  punish  this 
neglect,  she  sent  a  huge  wild  boar,  which  proved  very  destruc- 
tive to  the  country,  and  seemed  invincible  by  ordinary  means. 
Meleager,  the  brave  son  of  ffineus,  called  together  all  the 
renowned  heroes  of  Greece,  and  after  entertaining  them  with 
great  splendor  for  nine  days,  the  hunt  began,  and  the  huge 
beast,  which  was  larger  than  an  ox,  was  surrounded  and  driven 
from  his  lair.  Atalante  was  the  first  to  wound  him,  and  the 
enraged  beast  tore  open  the  body  of  one  of  the  heroes  who 
advanced  with  his  battle-ax.  At  length  Meleager  hurled  his 
spear  and  the  monster  received  a  mortal  wound ;  it  was  soon 
dispatched  by  the  rest  of  the  heroes.  Meleager  received  the 
head  and  hide  of  the  slaughtered  animal,  but  gave  his  reward 
to  Atalante,  on  the  ground  that  she  first  wounded  the  boar. 
This  excited  the  bitter  jealousy  of  the  brothers  of  Althaea,  the 
mother  of  Meleager,  and  they  laid  in  wait  for  Atalante  and 
robbed  her  of  her  present.  Enraged  at  this,  Meleager  slew 
them  both.  Althsea  in  the  first  outburst  of  grief  and  indigna- 
tion, placed  a  certain  brand  which  she  had  carefully  treasured 
up,  again  in  the  fire,  and  thus,  according  to  the  oracle,  cut  off 
the  life  of  the  noble  hero  in  the  prime  of  his  youth. 

The  story  of  the  Argonauts  is  the  history  of  the  heroes  who 
sailed  to  Colchis  for  the  recovery  of  the  golden  fleece.  It  is 
related  that  Ino,  the  daughter  of  Cadmus,  persuaded  her  hus- 
band, Athamas,  to  sacrifice  Phrixus,  his  son,  as  a  sin-offering  to 
Zeus,  in  order  to  put  an  end  to  the  drouth  with  which  the  land 
was  visited.  Whether  Helle,  his  sister,  was  to  have  shared  his 
fate,  is  not  stated ;  but  before  Ino,  the  stepmother,  could  accom- 
plish her  purpose,  Nephele  came  to  the  assistance  of  her 
children,  and  gave  them  a  winged  ram  with  a  golden  fleece, 
which  Hermes  had  presented  to  her  for  that  purpose.  Seated 
on  this  ram  they  fled  over  the  sea  to  Colchis.  On  the  way  Helle 
fell  into  that  part  of  the  sea  which  bears  her  name  and  was 
drowned,  but  Phrixus  arrived  safely  in  Colchis,  where  he  sacri- 
ficed the  ram  to  Zeus,  who  had  preserved  him  in  his  flight.  The 
fleece  he  hung  up  in  the  grove  of  Ares  as  a  sacred  treasure,  and 
was  guarded  day  and  night  by  a  dragon. 

When  Jason  had  completed  his  twentieth  year,  he  went  to  his 
uncle  to  demand  of  him  his  rightful  inheritance.  Pelias  prom- 
ised to  restore  the  crown  if  he  would  get  the  golden  fleece  from 
Colchis.  Jason  undertook  the  enterprise,  and  commanded 
Argus,  the  son  of  Phrixus,  to  build  a  ship  with  fifty  oars,  which 
was  called  the  Argo,  after  the  name  of  the  builder.  Jason  was 
accompanied  by  all  the  great  heroes  of  the  age,  to  the  number  of 
fifty.  After  meeting  with  many  adventures,  they  at  length 
arrived  at  Colchis.  The  King  ^Eetes  promised  to  give  up  the 
golden  fleece  if  Jason  would  yoke  to  a  plow  two  fire-breathing 
oxen  with  brazen  feet,  and  sow  the  teeth  of  the  dragon  which  had 
not  been  used  by  Cadmus  at  Thebes.  Medea,  the  daughter  of 
yEStes,  fell  in  love  with  Jason,  and,  on  his  promising  to  marry 
her,  she  furnished  him  with  the  means  of  resisting  fire  and  steel, 
and  put  to  sleep  the  dragon  that  guarded  the  golden   fleece. 


Ivi 


C.  HENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


After  Jason  had  taken  tlie  treasure,  lie  and  his  Argonauts 
embarked  by  niirlit,  ulonjr  with  Medea,  and  sailed  away.  They 
returned  to  Thessaly  after  an  eventful  journey. 

The  tragic  history  of  the  Theban  house  of  Labdacidfe,  has 
furnished  many  subjects  for  Greek  art  and  poetry.  We  will 
briefly  give  the  history  of  CEdipus  as  an  introductory  to  the 
great  events  that  followed.  CEdipus  was  the  son  of  Laius,  king 
of  Thebes.  His  father  having  learned  from  an  oracle  that  he 
was  doomed  to  perish  by  the  hands  of  his  own  son,  exposed 
QDdipus  immediately  after  his  birth,  with  his  feet  pierced  and 
tied  togetlier.  The  child  was  found  by  a  shepherd  of  King 
Polybus  of  Corinth,  and  he  reared  him  as  his  own  child. 
When  CEdipus  was  grown  up,  he  met  Laius  on  the  road  between 
Delphi  and  Daulis,  and  slew  him  in  a  scuffle  without  knowing 
that  he  was  his  father.  In  the  meantime  the  celebrated  Sphinx 
had  appeared  in  the  neighborhood  of  Thebes.  Seated  on  a  rock, 
she  put  a  riddle  to  every  Theban  that  passed  by,  and  whoever 
was  unable  to  solve  it  was  killed  by  the  monster.  CEdipus 
solved  the  riddle  and  the  Sphinx  threw  herself  into  a  deep 
abyss.  CEdipus  was  rewarded  with  the  sovereignty  of  Thebes, 
and  the  hand  of  locaste  his  mother.  For  several  years  he 
enjoyed  uninterrupted  happiness,  but  when  a  plague  visited 
Thebes  in  consequence  of  the  incestuous  marriage,  the  oracle 
ordered  the  expulsion  of  the  murderer  of  Laius,  and  the  seer 
Tiresias  told  CEdipus  that  he  was  the  guilty  man.  Thereupon 
locaste  hung  herself,  and  CEdipus  put  out  his  own  eyes,  and 
wandered  from  Thebes,  accompanied  by  his  daughter,  Antigone.. 
In  Attica  he  at  length  found  a  ])lace  of  refuge,  and  he  was  soon 
after  removed  from  the  earth  by  the  avenging  deities.  The 
curse  of  their  father  took  effect  on  his  unnatural  sons.  The 
elder  drove  out  his  brother,  Polynices,  who  then  sought  the 
assistance  of  Adrastus  and  the  other  Argive  heroes  in  the 
recovery  of  the  crown  of  Thebes.  But  the  attack  on  Thebes 
was  repulsed,  and  all  the  Argive  leaders,  with  the  exception  of 
Adrastus,  slain.  Ten  years  afterwards  Adrastus  persuaded  the 
six  sons  of  the  heroes  who  had  fallen  in  the  war  to  make  a  new 
attack  u])on  Thebes.  This  war  is  known  as  the  war  of  the 
"Epigoni,"  or  descendants.  Thebes  was  taken  and  razed  to 
the  ground. 

We  will  now  briefly  recount  the  fourth  and  most  celebrated 
of  the  common  undertakings  of  the  later  heroic  age,  namely, 
the  Trojan  War.  In  regard  to  its  origin  we  learn  that  Eris,  the 
goddess  of  discord,  not  having  been  invited  to  the  marriage 
festivities  of  Peleus  and  Thetis,  avenged  herself  by  throwing  into 
the  assembly  a  golden  apple,  with  the  inscription  :  "  To  the 
fairest."  Each  of  the  three  rival  goddesses — Hera,  Athena  and 
Aphrodite — claimed  the  apple  for  herself,  but  were  referred  by- 
Zeus  to  the  decision  of  Paris.  Paris  was  the  son  of  Priam,  the 
king  of  Troy.  In  consequence  of  an  ill-omened  dream  which  his 
mother  had,  he  was  exposed  after  his  birth.  He  was  found, 
however,  and  brought  up  by  some  shepherds.  Paris  decided  in 
favor  of  Aphrodite,  who  had  promised  him  the  most  beautiful 
woman  on  earth  as  his  wife.  Paris  visited  the  court  of  Menelaus 
in  Sparta,  and  was  hospitably  received  and  entertained  by  him. 
During  the  absence  of  Menelaus,  Paris  and  Helen  fled  to  Troy. 
On  the  refusal  of  the  king  of  Troy  to  surrender  Helen,  Menelaus 
succeeded  in  rousing  the  whole  of  Greece  to  a  war  of  revenge. 
Agamemnon  was  chosen  leader  of  the  expedition,  which  con- 
sisted of  1,186  ships  and  100,000  men.  The  first  nine  years  ofthe 
war  were  fruitless,  but  in  the  tenth  year  there  were  many  bril- 
liant exploits  on  both  sides. 

The  greatest  and  bravest  Greek  hero  was  Achilles.    Accord- 


ing to  a  legend,  his  mother  plunged  her  son  into  the  Styx,  and 
thereby  rendered  him  invulnerable  in  every  part  except  the  heel 
by  which  she  held  him.  Ajax  was  a  hero  scarcely  inferior  to 
Achilles.  He  was  of  mighty  stature  and  great  strength.  He  bore 
a  mighty  shield.  His  brother  Teucer  was  regarded  as  the  best 
archer  among  the  Greeks.  The  aged  Nestor  was  as  indispensable 
to  the  Greeks  before  Troy  on  account  of  his  wise  counsels  a«  the 
courageous  Achilles,  or  Ajax.  The  Locrian,  or  Lesser  Ajax  was 
renowned  for  his  skill  in  hurling  the  spear  and  for  his  great 
fleetness,  in  which  he  was  surpassed  only  by  Achilles.  Odysseus, 
or  Ulysses,  was  the  most  popular  ofthe  Greek  heroes  in  this  war. 
He  was  wise  and  eloquent,  dextrous  in  feats  of  strength,  and 
valorous  amidst  the  greatest  dangers.  Hector  was  the  chief 
hero  of  the  Trojans,  and  was  the  eldest  son  of  Priam.  Ho  fought 
with  the  bravest  of  the  Greeks  and  slew  Patroclus,  the  friend  of 
Achilles.  The  death  of  his  friend  roused  Achilles  to  the  fight. 
All  the  Trojans  fled  before  him,  Hector  alone  remained  ;  but 
wlien  he  saw  Achilles,  his  heart  failed  him,  and  he  fled.  Three 
times  he  raced  round  the  city,  pursued  by  the  fleet  Achilles,  and 
then  fell  pierced  by  the  spear  of  Achilles.  The  body  of  Hector 
he  surrendered  to  his  father  Priam,  upon  his  prayers,  and  by 
command  of  Zeus.  Immediately  after  the  death  of  Hector, 
Penthesilea,  the  queen  of  the  Amazons  came  to  the  aid  of  the 
Trojans.  The  Amazons  fought  bravely,  but  Achilles  at  length 
slew  their  queen,  and  they  were  driven  back.  Then  Memnon, 
king  (iiIi\\M\o\)Vi.,  a  handsome  and  courageous  warrior  arrived  as 
an  ally  to  the  Trojans.  Many  fell  by  the  hands  of  this  great 
hero,  but  when  he  ventured  to  meet  Achilles,  he  also  was  van- 
quished after  a  brave  struggle.  In  an  assault,  at  the  head  of  his 
Myrmidons,  Achilles  was  killed  by  an  arrow  from  Paris.  A  furi- 
ous contest,  lasting  an  entire  day,  took  place  over  the  possession 
of  the  body  of  Achilles  and  his  armour.  Ajax  and  Odysseus  at 
length  succeeded  in  getting  it  to  a  place  of  safety.  There  was 
great  mourning  among  the  Greeks  at  his  death.  The  arms  of 
Achilles  were  adjudged  by  Agamemnon  to  Odysseus,  at  which 
Ajax  was  so  mortified  that  he  became  insane  and  put  an  end  to 
his  own  life. 

Odysseus  thus  became  the  chief  personage  among  the  Greeks. 
By  his  advice  and  assistance  tlie  arrows  of  Hercules  were  brought 
into  camp;  the  Palladium,  on  which  the  safety  of  Troy  depended, 
was  stolen;  the  young  son  of  Achilles  brought  from  Scyros  to  the 
Trojan  camp,  and  lastly,  it  was  Odysseus  who  devised  the 
wooden  horse,  an<l  the  stratagem  which  led  to  the  capture  of 
Troy.  The  sad  fate  of  Laocoon,  priest  of  Apollo,  is  briefly 
recounted.  Laocoon  sought  to  divert  the  Trojans  from  dragging 
the  wooden  horse  of  the  Greeks  into  the  city.  While  sacrificing 
to  Poseidon  on  the  seashore,  accompanied  by  his  two  sons,  he 
was  strangled  by  the  two  serpents  that  came  up  out  of  the  sea.  On 
the  night  succeeding  Laoeoon's  horrible  end,  the  Greek  fleet 
returned,  the  heroes  who  were  hidden  in  the  wooden  horse  de- 
scended and  opened  the  gates  to  the  Greek  host,  and  the  city  fell 
into  the  hands  of  the  invaders.  Terrible  scenes  of  plunder  and 
carnage  ensued  ;  the  men  were  put  to  death,  the  women  and 
children,  together  with  the  rich  booty,  were  carried  off',  and 
the  city  burned  to  the  ground.  On  the  capture  of  Troy, 
Helen  became  reconciled  to  Menelaus,  and  accompanied  him  to 
Sparta.  The  return  of  the  Greeks  was  memorable  for  the 
adventures  and  misfortunes  that  befell  them.  Great  storms 
carried  some  of  them  to  distant  lands,  from  which  it  took  them 
years  to  get  home.  Ajax  was  shipwrecked,  and  Odysseus,  after 
numerous  wanderings  and  vicissitudes,  returned  to  Ithaca  to 
his  faithful  wife,  Penelope,  and  punished  the  shameless  suitors 
who  had  wasted  his  substance  and  goods. 


EXPLANATORY   OF   ILLUSTRATIONS    IN    "  ART   STUDIES."     EDITED    BY   C.    F.    ZIMMERMANN. 


TT  CHILliES,  Borghese,  formerly  in  tlie  Borghese  collec- 
Trr|>  tion,  Kome,  now  in  the  Louvre,  Paris,  tliought  to  be 
_l  \_  Acliilles  by  the  ring  above  tlie  riglit  ankle,  supposed  to 
have  been  placed  there  to  protect  the  heel,  the  only 
^.x-- J  vulnerable  part  of  Achilles.  For  further  description, 
c_^       see  Grecian  Mythology. 

Adonis,  Vatican,  Rome. — As  a  child  his  beauty  at- 
tracted the  love  of  Venus  and  of  Proserpine.  They 
quarrelled  about  the  possession  of  him  and  Jupiter  decided  the 
matter  by  allowing  Adonis  to  spend  eight  months  of  the  year 
with  Venus  and  four  months  with  Proserpine.  Adonis  was 
killed  by  a  boar  while  hunting  and  Venus  changed  his  blood  to 
flowers. 

iEschylus  was  the  father  of  Greek  tragedy  and  over  seventy 
tragedies  of  his  time  are  ascribed  to  him. 

iEsculapius  is  the  god  of  the  healing  art.  The  centaur, 
Chiron,  instructed  him,  and  the  disciple  soon  excelled  bis  mas- 
ter. He  not  only  kej)t  his  j)atients  from  dying,  but  was  able  to 
restore  the  dead  to  life.  In  2J)2  B.C.  a  fatal  pestilence  prevailed 
in  Rome.  The  gods  commanded  that  vEsculapius  be  brought 
fr(jm  Epidaurus.  When  the  embassy  arrived  there  and  had 
made  their  request,  a  snake  crept  out  of  the  temple  and  into  the 
ship.  This  snake  was  regarded  as  ylCsculapius.  Returning  with 
it  to  Rome  the  pestilence  vanished. 

Agassiz,  Louis  Jean  Bodolph,  one  of  the  most  distinguished 
of  modern  naturalists,  was  born  in  Switzerland  in  1807,  and  died 
in  Massachusetts  in  187.3.  Agassiz  was  educated  at  Heidelberg 
and  Munich  ;  comparative  anatomy  being  his  favorite  study.  He 
filled  the  chair  of  Natural  History  in  Neufchatel.  He  came  to  the 
United  States  in  1846,  and  was  successively  appointed  at  Harvard 
University,  at  Charleston,  S.  C,  and  at  Cornell  University,  N.  Y. 
He  declined  the  offer  of  a  chair  in  Paris  made  him  by  the 
Emperor  of  France.     He  wrote  numerous  works  on  Zoology. 

Agrippa,  M.  Vipsanius,  a  great  Roman  general,  born  B.  C. 
63,  and  died  A.  D.  12.  In  the  civil  wars  which  followed  the  death 
of  Csesar,  and  which  gave  Augustus  the  sovereignty  of  the  Roman 
world,  Agrippa  took  an  active  part,  and  his  military  abilities  con- 
tril)uted  greatly  to  that  result.  He  was  thrice  consul,  and  in  his 
third  consulsliip,  he  built  the  Pantheon.  He  continued  to  be 
employed  in  various  military  commands  till  his  death. 

Ajaz,  son  of  the  king  of  Salamis.  He  sailed  against  Troy  in 
twelve  ships,  and  is  represented  in  the  Iliad  as  second  only  to 
Achilles  in  bravery.  In  the  contest  for  the  armour  of  Achilles 
he  was  conquered  by  Ulysses,  and  this,  says  Homer,  was  the 
cause  of  his  death. 

Ajax  and  Achilles^  also  known  as  Menelaus  and  Patroclus; 
original  group  in  the  Loggia  dei  Lanzi  at  Florence. 

Amazon,  original  in  the  Vatican,  Rome.  The  Amazons 
were  a  nation  of  women  trained  from  their  earliest  youth  in  all 
war-like  exercises. — See  Grecian  Mythology  under  Tlieseus,  and 
Achilleg. 

Amor,  EroB,  Cupid. — The  god  of  love.  He  was  represented 
as  a  wanton  boy,  of  whom  a  thousand  tricks  and  cruel  sports 
were  related,  and  from  whom  neither  gods  nor  men  were  safe. 


His  arms  consists  of  arrows,  quiver  and  of  torches,  which  no  man 
can  touch  with  impunity.  He  is  further  represented  with  golden 
wings,  and  as  fluttering  about  like  a  bird.  His  eyes  are  some- 
times covered,  so  that  he  acts  blindly.  He  is  the  usual  com- 
panion to  his  mother.  Aphrodite. 

Amor  Greco,  Vatican  (Genius  of  the  Vatican). 

Amor  and  Psyche.  Psyche,  as  the  personification  of  the 
human  soul.  She  excited  by  her  beauty  the  jealousy  and  envy 
of  Venus.  To  avenge  herself  the  goddess  ordered  Cupid,  or  Amor 
to  inspire  Psyche  with  a  love  for  the  most  contemptible  of  all 
men ;  but  Cupid  was  so  stricken  with  her  beauty  that  he  himself  fell 
in  love  with  her.  Having  undeservedly  caused  the  mistrust  of 
Cupid,  he  deserted  her  and  she  wandered  from  temple  to  temple 
in  search  of  him.  Falling  into  the  hands  of  Venus  again  her  real 
sufferings  began,  for  the  hardest  and  most  humiliating  labors 
were  imposed  upon  her  and  she  would  have  perished  under  the 
weight  of  her  suffering  had  not  Cui)id,  who  still  loved  her  in 
secret,  invisibly  comforted  and  assisted  her  in  her  toils. 

Angelo  Buonarotti,  Michel,  was  born  in  1474,  and  died  in 
1563.  He  stood  unrivalled  as  a  painter,  sculptor  and  architect. 
His  earliest  original  works  were  a  Kneeling  Angel,  The  Statues 
of  Bacchus  and  David  at  Florence,  and  a  magnificent  group  rep- 
resenting the  Mater  Dolorosa,  which  was  placed  in  St.  Peter's  at 
Rome.  His  works  were  all  on  a  collosal  scale  and  showed  mar- 
velous knowledge  of  the  anatomical  development  of  the  human 
figure,  and  extraordinary  powers  of  execution.  His  cartoons  in 
the  Sistine  Chapel  are  marvels  of  beauty  and  perfection.  He 
devoted  much  time  to  remodeling  St.  Peter's,  in  Rome,  which 
by  the  touch  of  his  genius,  was  converted  from  a  mere  Saracenic 
hall,  into  the  most  superb  model  of  a  Christian  church. 

Antinous,  a  youth  of  extraordinary  beauty,  was  the  favorite 
of  the  Emperor  Hadrian  and  his  companion  in  all  his  journeys. 
He  was  drowned  in  the  Nile.  The  grief  of  the  Emperor  knew 
no  bounds.  He  enrolled  Antinous  among  the  gods,  caused  a 
temple  to  be  erected  to  him,  at  Mantinea,  and  founded  the  city 
of  Antinoopolis  in  honor  of  him. 

Antony,  Mark,  one  of  the  most  distinguished  orators  of  his 
age.  Born  83  B.  C,  he  laid  the  foundation  for  extravagant  living 
in  his  youth,  early  espoused  the  cause  of  Julius  Casar,  and  in  B. 
C.  44  was  appointed  his  colleague  in  the  government.  Upon 
Cassar's  death  he  delivered  ttie  funeral  oration  and  incited  the 
people  to  drive  the  conspirators  from  Rome.  At  first  opposing 
Octavianus,  who  had  succeeded  Ciesar,  he  finally  effected  a 
reconciliation  with  Octavianus,  and  with  him  and  Lepidus 
founded  the  triumvirate.  In  his  foreign  wars  he  met  Cleopatra, 
queen  of  Egypt,  and  from  that  moment  became  the  complete 
slave  of  her  caprices.  Having  been  defeated  by  Octavianus  he 
stabbed  himself  and  died  in  the  presence  of  Cleopatra. 

Apollino,  the  little  Ajiollo,  is  the  beautiful  and  well-known 
figure  in  the  Tribune  of  Florence,  appropriately  named  Apollino, 
for  it  is  the  idle,  careless,  dreaming  god,  the  offspring  of  poetic 
fancy  rather  than  genuine  faith. 

Apollo,  one  of  the  great  divinities  of  the  Greeks.  The 
powers  ascribed  to  him  are  apparently  of  different  kinds;  he  was 


Iviii 


G.  HENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


the  god  who  punishes,  whence  he  is  represented  with  bow  and 
arrows  ;  the  god  who  affords  help  and  wards  off  evil  ;  the  god  of 
prophecy  ;  the  god  of  song  and  music  ;  the  god  who  i)rotects  the 
flocks  and  cattle  ;  the  god  who  deliglits  in  the  foundation  of 
cities  and  towns  and  the  estabhshment  of  civil  constitutions,  and 
the  god  of  the  sun. 

Apollo  Belvedere. — Marble  in  the  Vatican.  The  original 
of  this  colossal  statue  was  discovered  in  the  16th  Century  and 
placed  by  Michael  Angelo  in  the  Belvedere  Gallery,  Rome.  The 
name  of  the  sculptor  is  not  known. 

Apollo  Sauroktonos,  the  Lizard-killer,  is  represented  as  a 
youth  amusing  himself  by  striking  at  a  lizard  on  the  tree  beside 
him. 

Apoxyomenos,  original  in  the  Vatican.  It  was  the  custom 
of  Greek  athletes  to  rub  their  body  with  oil  before  exercising. 
This  statue  represents  a  Greek  youth  scrapingthe  oil  and  the  dust 
of  the  arena  from  his  body  with  an  instrument  called  strigil. 

Ariadne,  daughter  of  Minos  and  Pasiphae,  fell  in  love  with 
Theseus,  when  he  was  sent  by  his  father  to  convey  the  tribute  of 
the  Athenians  to  the  Minotaur,  and  gave  him  the  clew  of  thread 
by  means  of  which  he  found  his  way  out  of  the  labyrinth. 
Theseus,  in  return,  promised  to  marry  her,  and  she,  accordingly, 
left  Crete  with  him  ;  but  on  their  arrival  in  the  island  of  Dia 
(Naxos),  she  was  killed  by  Artemis  (Diana).  This  is  the  Homeric 
account ;  but  the  more  common  tradition  related  that  Theseus 
deserted  Ariadne  in  Naxos,  where  she  was  found  by  Dionysus, 
who  made  her  his  wife,  an<l  placed  among  the  stars  the  crown 
which  he  gavi^  her  at  their  marriage. 

Ariadne  Deserted,  original  in  marble  in  the  Vatican. 

Ariadne  and  Panther.  Among  the  productions  of  modern 
sculptors,  the  Ariadne  of  Dannecker,  at  Frankfort-on-the-Main, 
which  represents  her  as  the  bride  of  Theseus  riding  on  a 
panther,  justly  enjoys  a  very  high  reputation. 

Aristides,  a  celebrated  Athenian,  whose  great  temperance 
and  virtue  procured  him  the  surname  "The  Just."  He  was  a 
rival  of  Themistocles,  through  whose  influence  he  was  banished, 
B.  C.  484  ;  but  before  six  years  of  Ids  exile  had  elapsed,  he  was 
recalled  by  the  Athenians. 

Aristotle,  the  greatest  and  most  influential  of  all  the  Greek 
philosophers,  was  born  in  the  year  484  B.  C.  He  aspired  to  the 
cultivation  of  universal  knowledge  fur  its  own  sake,  in  which  he 
obtained  a  distinction  without  {)arallel  in  the  history  of  the 
human  race.  At  Athens  he  became  the  pupil  of  Plato,  but  soon 
made  his  master  aware  of  the  remarkable  penetration  and  reach 
of  his  intellect,  for  we  are  told  that  Plato  sjxjke  of  Aristotle  as  the 
"  Intellect  of  the  School."  At  the  age  of  fifty  he  opened  a  school 
called  the  Lyceum,  and  from  his  practice  of  walking  up  and 
down  in  the  garden  during  his  lectures,  arose  the  name  of  his 
school  and  sect,  the  Peripatetic.  No  other  philosopher  can  be 
named  whose  influence  has  been  so  far-reaching  and  so  long 
continued. 

Arrotino,  Knife  Grinder.  The  slave  sharpening  his  knife. 
An  ancient  statue  now  in  the  Ufiizi  Palace,  Florence.  "As  is 
well-known  this  statue  is  an  enigma,  to  whit:h  no  satisfactory 
solution  has  ever  been  offered.  Indeed,  whether  he  is  whetting 
his  knife  seems  somewhat  doubtful.  But  as  to  its  power,  there 
can  be  no  doubt." 

Atlas — with  globe.  Atlas  made  war  with  the  other  Titans 
upon  Zeus  (Jn|)iter),  and  being  conquered,  was  condemned  to 
bear  heaven  on  his  head  and  hands.  The  myth  seems  to  have 
arisen  from  the  idea  that  lofty  mountains  supported  the  heaven. 


Auber,  Daniel  Francois  Esprit,  a  French  musician  and  com- 
poser, l)orn  1784  and  died  1871.  After  a  brief  experience  in 
mercantile  life,  he  devoted  himself  to  music.  After  a  course  of 
study  with  Cherubini,  he  wrote  several  operas  which  were  un- 
successful. Persevering,  however,  he  was  recognized  in  1820, 
and  from  that  time  on  he  produced  a  great  number  of  works, 
almost  all  of  which  were  well  received,  while  some  are  among 
the  most  successful  operas  now  represented  on  the  stage.  Masa- 
niello,  Fra  Diavolo,  Gustave  and  Haydee  are  among  his  most  popu- 
lar operas. 

Aurelius,  Marcus,  born  at  Rome,  A.  D.  121,  died  A.  D.  180. 
Roman  Emjieror  from  101  to  180  A.  D.  Marcus  Aurelius  was  a 
devoted  advocate  of  the  Stoic  philosophy.  We  still  possessa  work 
in  the  Greek  language  written  by  him,  and  entitled  Meditations. 
No  remains  of  antiquity  possess  a  nobler  view  of  philosophical 
heathenism.  The  chief  stain  upon  his  character  was  bis  perse- 
cution of  the  Christians. 

Au^stus,  Caesar,  was  born  in  (v!  B.  C.  Julius  Ciesar 
adopted  him  as  his  son  and  heir,  his  father  having  died  when  he 
was  but  four  years  old.  AVhen  Ciesar  died  in  54  B.  C.  Augustus 
was  a  student  under  the  celebrated  orator  Apollodorus.  When 
he  returned  to  Italy  he  was  haughtily  treated  by  Antony,  who 
refused  to  surrender  the  property  of  Csesar.  Augustus  made 
himself  a  favorite  with  the  people  and  succeeded  in  getting  the 
will  of  Cfesar  carried  out.  Augustus  had  consummate  t^ict  as  a 
ruler  and  politician,  and  could  keep  his  plans  in  secrecy  while 
he  ma(h^  use  of  the  passions  and  talents  of  others  to  forward  his 
own  designs.  He  so  beautified  Rome  that  it  was  said,  'Augustus 
found  the' city  built  of  bricks,  and  left  it  built  of  marble.' 

Bacchus,  the  noisy,  or  riotous  god,  synonymous  with  Diony- 
sos,  the  youthful,  beautiful  and  effeiidnate  god  of  wine. 

Bacchus  and  Ariadne.  Bacchus,  the  god  of  wine,  and 
Ariadne,  daugliter  of  Minos,  King  of  Crete.  Bacchus,  returning 
from  his  triumphs  in  India  is  captivated  by  her  beauty  and 
marries  her.  At  her  <leath,  he  gives  her  a  place  among  the  gods, 
and  her  wedding  crown  is  suspended  in  the  ski(^s  as  a  constella- 
tion. 

Bacchus— See  Silenus  and  the  Infant  Bacchus. 

Bacchus — Original  at  the  Louvre. 

Bach,  Jobann  S(;bastian,  a  famous  German  composer  and 
musician.  Born  1685  and  died  1750.  Bach  was  in  some  respects 
the  greatest  musician  that  has  lived.  He  early  begiin  the  study 
of  music,  playing  on  the  harpsichord  and  organ.  He  filled  the 
position  as  organist  in  Arnstadt  at  22,  and  in  1708  became  court 
organist  in  Weimar.  His  principal  compositions  for  the  organ 
date  during  the  seven  years  of  his  service  there.  His  field  of 
labor  was  enlarged  from  year  to  year,  until  at  the  age  of  thirty- 
eight  Bach  devoted  himself  to  teaching  and  to  working  out  his 
lofty  conceptions  of  the  musical  art.  For  twenty-seven  years  he 
thus  lived  and  labored,  leaving  as  the  fruit  of  those  years  a  mass 
of  compositions  which,  for  nund)er,  variety  and  excellence,  form 
|)erhaiis  the  most  astonishing  monument  of  musical  genius  and 
learning.  The  Well-tempered  Vlarier  is  known  to  every  earnest 
student  of  the  piano-forte. 

Bacon,  Francis,  an  English  philosopher,  born  1561  and  died 
1626.  A  great  and  luminous  intellect,  one  of  the  finest  of  the 
poetic  progeny  of  his  age,  who,  like  his  predecessors,  was  natur- 
ally disposed  to  clothe  his  ideas  in  the  most  splendid  dress.  He 
was  a  scholar,  a  wit,  a  lawyer,  a  statesman  and  a  philosopher  ; 
one  of  the  most  original  and  brilliant  of  the  men  of  the  world. 
Genuine  science  dates  from  him ;  his  Advancemml  of  Learning,  and 
Nonirn  Orqanum,  laid  the  foundation  of  the  true  scientific 
method,  which  changed  the  philpsopy  of  the  world. 


BIOGRAPHICAL  AND  MYTHOLOGICAL  NOTES. 


lix 


Beatrice — Tlie  Christian  name  of  a  younfj  Florentine  lady  of 
the  illustrious  family  of  Portinuri,  for  whom  the  poet  Dante  con- 
ceived a  strong  but  purely  platonic  affection,  and  whom  he 
represents,  in  the  "Divina  Commedia,"  as  his  guide  through 
Paradise.  Beatrice  married  a  nobleman,  Simone  dei  Bardi,  and 
died  young,  al>oHt  the  year  12ilO. 

Beecher,  Henry  Ward,  was  born  in  1813  and  died  in  1887. 
He  graduated  at  Andierst  in  1834,  and  studied  theology  at  Lane 
Seminary.  In  1837  he  became  pastor  of  a  Presbyterian  church 
at  Lawrenceburg,  Indiana.  In  1847  he  received  a  call  from  the 
Plymouth  church,  a  new  Congregationalist  organization  in 
Brooklyn,  Xew  York.  Here,  almost  from  the  outset,  he  began 
to  acfiuire  that  reputation  as  a  pulpit  orator  which  he  maintained 
and  increased  till  his  death.  He  contributed  regularly  to  peri- 
odicals, and  wrote  books  on  many  subjects,  from  the  novel 
"  Norwood  "  to  his  "  Life  of  Christ."  In  1863  he  visited  Great 
Britain  and  did  much  by  his  speeches  to  change  popular  senti- 
ment regarding  the  meaning  of  the  Civil  War. 

Beethoven,  Ludwig  van,  a  Prussian  musical  composer,  born 
1770,  and  dieil  1827.  Commencing  the  study  of  music  at  the  early 
age  of  four,  he  developed  powers  that  made  him  the  greatest 
musical  genius  of  the  age.  His  mission  was  to  perfect  instru- 
mental music  as  the  language  of  feeling  and  of  the  sentiments. 
In  his  earliest  works  will  be  found  much  of  that  pensive  feeling 
which  distinguished  his  extemporaneous  efforts,  and  this  quality 
in  his  sonatas  became  more  marked  as  he  advanced  in  years. 
In  the  catalogue  of  Beethoven's  works,  we  find  hardly  a  l)ranch 
of  the  art  in  which  he  had  not  wrought,  but  the  preponderance 
of  the  instrumental  over  the  vocal  music  is  striking. 

Belt  Bucklers — By  John  Peter  Molin,  a  Swedish  sculp- 
tor. Tlie  subject  here  treated  was  taken  from  Swedish  his- 
tory. In  early  days  it  was  customary  at  large  public  gatherings 
for  the  men  to  engage  in  various  contests  of  strength  and 
skill,  one  with  another.  AVrestling,  fencing,  etc.,  were  most 
commonly  practiced,  and  when  bad  blood  became  aroused,  these 
contests  often  had  a  fatal  ending.  When,  says  the  history,  a 
controversy  ha<l  arisen  between  two  men,  one  of  them  would 
challenge  the  other  by  proposing  that  they  should  buckle  their 
belts;  which  were  then  fastened  around  the  waists  of  both  to 
hold  tliem  together.  The  next  question  of  the  challenger  was 
"  Hoir  far  can'xt  thou  stand  the  cold  steel?"  in  reply  to  which 
his  adversary'  would  mark  on  the  blade  of  the  knife,  used  in  the 
fight,  how  far  he  would  allow  it  to  be  inserted  into  his  body. 
Each  party  then  had  a  right  to  hold  with  his  left  hand  the  right 
wrist  of  his  opponent,  and  the  fierce  struggle  for  mastery  (»m- 
menced.  This  wild  usage  was  (piite  common  up  to  the  beginning 
of  the  18th  Century.  Molin's  group  represents  one  of  these 
fights  for  life  at  a  very  critical  moment,  as  is  revealed  by  the 
strained  muscles  and  countenances  of  the  combatants.  Four 
tableaux  in  relief  on  the  sides  of  the  pedestal  serve  further  to 
illustrate  the  story  of  the  fight. 

Benivieni,  (iirolano,  a  Florentine  i)oet,  born  1453  (?)  died 
lo42.  An  ornament  of  Italian  literature.  He  sought  to  imitate 
Dante  and  Petrarch.  He  was  pious,  holy,  and  upright,  and  lived 
to  the  age  of  90  years.  A  bust  of  Benivieni  made  by  Bastianini, 
was  bought  for  the  Louvre  at  a  fabulous  price.  The  modeling 
was  so  beautiful  as  to  have  passed  for  a  genuine  mediicval  work. 

Bismark,  (!ount  von,  a  man  of  mighty  will  and  intel- 
lectual forecast,  whose  great  life-work  has  been  to  unite 
Germany.  He  was  born  April  Ist,  1815.  In  1832  he  studied 
jurisprudence  and  political  science  at'  Giittingen.  In  1847  he 
attended    the    first    united    diet    at    Berlin    as  delegate    from 


Saxony,  and  became  known  as  an  able  and  vehement  opponent 
of  liberal  reforms.  As  a  member  of  the  second  chamber  of  the 
Prussian  diet  in  1849-50,  he  urged  increased  powers  for  the 
monarchy  and  the  consolidation  of  the  German  nationality. 
Was  amljassador  to  St.  Petersburg  and  Paris,  18.)9-(>2,  and  in  1862 
became  prime  minister.  His  policy,  at  first  so  unjxjpular,  gained 
for  Prussia  victory  and  renown,  and  the  confederation  of  the  Ger- 
man states  is  considered  as  chiefly  due  to  his  diplomacy  and  ability. 

Boxer — By  Canova.  A  most  beautiful  example  of  muscular 
development.  The  great  sculptor  has  shown  a  wonderful 
knowledge  of  anatomy  and  the  human  form  in  action.  The 
statue  is  one  of  Canova's  lieroic  compositions. 

Boy  with  Goose — Marble  group  in  the  Louvre.  Was  found 
in  1789  at  Civita  Vecchia,  Appian  way.  Thought  to  have  been 
copied  from  a  bronze  work  by  Boethos.  Tlie  group  probably  served 
as  a  fountain,  the  water  issuing  from  the  bill  of  the  goose.  The 
composition  is  simple  and  beautiful,  and  the  execution  worthy 
of  an  original  artist. 

Boy  with  Turtle,  in  the  Louvre.  By  Francois  Rude,  born 
at  Dijon,  1784.  From  a  marble  bust  he  made  he  had  a  triangular 
piece  left,  and  from  this  lie  made  h\»  chef -d' ceuvre — "The  Neapoli- 
tan Fisher  Boy  PUiying  with  a  Turtle."  This  charming  work  it 
is  impossible  to  praise  too  highly.  It  has  all  the  purity  and 
restraint  of  an  antique,  with  the  freedom  and  animation  of  a 
figure  modeled  direct  from  nature.  The  delight  of  the  boy  at 
having  reined  his  turtle  contrasts  amusingly  with  the  lugu- 
brious expression  of  the  i)oor  re])tile,  unable  to  retreat  under  its 
shell.  The  work  was  bought  by  the  Government  and  the  sculp- 
tor decorated;  but  at  the  moment  of  his  triumph  Rude  lost  his 
onh'  son  and  his  health  began  to  fail.     Died  1855. 

Brontolone.     See  Bourdaloue. 

Bouidaloue,  Louis,  a  celebrated  preacher,  and  one  of 
the  greatest  orators  that  France  ever  produced,  was  born 
at  Bourges,  Aug.  20,  1632.  Madame  de  Sevigne,  wrote  that  "she 
had  never  heard  anything  more  beautiful,  more  noble,  more 
astonishing,  than  the  sermons  of  Father  Bourdaloue."  Louis 
XIV  said  that  "  he  loved  better  to  hear  the  repetitions  of  Bour- 
daloue than  the  novelties  of  any  one  else."  Lord  Brougham 
says  of  him  : — "  He  displayed  a  fertility  of  resounres,  an  exuber- 
ance of  topics,  whether  for  observation  or  argument,  not  equaled 
by  any  other  orator,  sacred  or  profane." 

Brutus,  Lucius,  Junius,  one  of  the  assassins  of  Ciesar,  over- 
turned the  monarchy  of  Rome  and  established  the  republic.  He 
sacrificed  to  the  new  republic  even  his  own  sons,  having  been 
detected  in  a  conspiracy  to  restore  the  monarchy. 

Burns,  Robert,  a  Scottisch  poet,  born  1759,  died  in  1796. 
Seldom  have  such  manliness,  tenderness  and  passion  been  united 
as  in  the  songs  of  Burns.  The  popularity  that  his  poems  in. 
stantly  attained,  has  continued  unabated  wherever  English  is 
spoken.  Intemperance,  exposure  and  disappointments  helped 
to  undermine  his  constitution,  and  he  died  at  the  early  age  of  37. 

Byron,  Lord  George  Gordon,  an  English  poet,  born  1788  and 
died  1824.  He  was  predisposed  to  poetry  by  his  innate  fire,  but 
limited  to  one  kind.  He  wrote  Childe  Harold,  The  Corsair,  The 
Bride  of  Ahydos,  Tlie  Prisoner  of  Chillon,  Manfred  and  the  Lament 
of  Tasso,  Don  Juan,  and  Tlie  Vision  of  tin;  Last  Judgment. 

Caesar,  Cains  Julius,  Roman  general  and  dictator,  born  B. 
C.  100,  and  died  by  assassination  B.  C.  44.  Ctesar  had  a  wonder- 
fully fertile  mind.  He  was  not  only  the  first  general  and  states- 
man of  his  age,  but  he  was — excepting  Cicero — its  greatest' 
orator.  As  an  historian  lie  has  never  been  surpassed  and  rarely 
equalled  in  simplicity  of  style,  and  in  the  truthful  representation 


Ix 


C.  HENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


of  that  to  which  he  was  an  eye  witness.  He  was  also  a  mathe- 
matician, philosopher,  jurist,  and  architect.  Most  of  his  writings 
have  been  lost,  but  we  still  possess  his  Commentaries. ' 

Calhoun,  John  Caldwell,  an  eminent  American  statesman, 
descended  from  an  Irish  family.  He  was  born  1782,  and  died  in 
1850.  In  1817  he  was  named  minister  of  war  by  President  Mon" 
roe,  and  reduced  the  confused  state  of  affairs  in  his  department, 
to  order,  and  made  a  great  reduction  in  the  expenditure  of  the 
army  without  sacrificing  its  efficiency.  In  his  private  character 
Calhoun  was  blameless.  During  many  years  he  was  employed 
in  writing  his  Treatise  on  the  Nature  of  Government,  in  which  he 
advocates  the  doctrine  of  State  sovereignty. 

Caligrula,  Caius,  Csesar,  third  Emperor  of  Rome.  He  was 
fierce,  forcible,  dominating,  cruel.  Born  AugustSl,  A.  D.  12,  put  to 
death  in  Rome  January  24,  A.  D.  41.  His  low  brutal  head  is  an 
indication  of  such  characteristics.    Nero  was  his  sister's  son. 

Canova,  Antonio,  an  Italian  sculptor,  born  at  Pasagno,  1757, 
died  1822.  He  sprang  from  an  ancient  family,  who,  for  genera- 
tions, had  followed  the  trade  of  stone-cnttlng.  His  father  died 
young  and  Antonio  was  left  to  the  care  and  instruction  of  his 
grandfather.  Works  executed  in  his  ninth  year  still  remain. 
Senator  Falliere  became  his  patron  and  enabled  him  to  prose- 
cute his  studies.  Canova  was  very  abstemious.  His  works  are 
very  numerous  and  were  produced  with  great  rapidity.  He 
executed  59  statues,  14  groups,  22  monuments,  54  busts,  besides 
many  bas-reliefs.  They  are  classed  as  heroic  compositions, 
compositions  of  grace,  and  sepulchral  monuments  and  relievi. 
His  large  fortune  which  he  acquired  was  distributed  in  works 
of  charity.     He  endowed  all  the  academies  of  Rome. 

Ceres  was  the  Roman  name  of  Mother  Earth.  She  was  the 
protectress  of  agriculture  and  of  all  the  fruits  of  the  earth. 

Chopin,  Frederic  Francois,  Polish  pianist  and  musical  com- 
poser, born  1810,  and  died  1849.  Chopin  began  to  study  music  at 
the  age  of  nine  under  masters.  Prince  Anton  Radziwill  was  his 
patron,  and  introduced  him  into  the  best  society  in  Warsaw. 
He  studied  in  Germany  and  in  Vienna.  In  Paris  he  won  imme- 
diate and  brilliant  fame  as  a  composer.  His  feeble  health  did 
not  perndt  him  to  prepare  any  great  continuous  work.  His  works 
are  full  of  refinement,  and  of  harmony  never  heard  before. 

Cicero,  Marcus  Tullius,  Roman  orator,  born  B.  C.  106  and 
died  B.  C.  43.  Cicero  received  an  excellent  education,  studying 
law,  rhetoric  and  philosophy.  He  finally  became  one  of  the 
greatest  masters  of  rhetoric  that  has  ever  lived.  He  was 
also  considered  a  good  statesman.  He  wrote  many  works 
on  philosophy  and  rhetoric. 

Cincinnatus  (Jason),  Louvre,  Paris.  The  original  of  this 
beautiful  marl)le  statue  was  purchased  by  Louis  XIV,  and 
placed  at  Versailles.  Cincinnatus,  L.  Quintius,  a  favorite  hero 
of  the  old  Roman  republic,  and  a  model  of  old  Roman  frugality 
and  integrity.  He  lived  on  his  farm,  cultivating  the  land  with 
his  own  hand.  In  B.  C.  458  he  was  called  from  the  plow  to  the 
dictatorship,  in  order  to  deliver  the  Roman  co«8ul  and  army 
from  the  perilous  position  in  which  they  liad  been  placed  by  the 
Aequians.  He  saved  the  Roman  army,  defeated  the  enemy,  and 
after  holding  the  dictatorship  only  16  days,  returned  to  the  farm. 
The  statue  of  Jason  was  formerly  called  Cincinnatus  from  the 
ploughshare  and  one  shoe  at  the  base,  but  Winckelman  saw  that 
it  was  Jason. 

Clay,  Henry,  American  orator  and  statesman,  born  1777  and 
died  1852.  He  early  devoted  himself  to  law,  and  was  elected  to 
Congress  in  1806.  He  was  repeatedly  elected  to  Congress,  sus- 
taining Madison's  war  measures,  exerting  himself  for  the  inde- 


pendence of  South  America,  known  as  the  author  of  the  famous 
Missouri  Compromise  Bill,  restricting  slavery  to  the  states  south  of 
thirty  degrees  and  thirty  minutes  North  latitude,  and  the  com- 
pomise  of  ia50,  known  as  the  Omnibus  Bill,  and  his  defence  of  the 
protective  tariff.  He  was  several  times  a  candidate  for  the 
Presidency,  but  received  only  a  small  vote. 

Clytie,  a  daughter  of  Oceanus,  changed  into  the  plant  helio- 
tropium. 

Cupid,  or  Amor,  god  of  love,  named  by  the  Romans  in  imi- 
tation of  the  Greek  Eros,  but  he  never  enjoyed  any  public  ven- 
eration. 

Cupid— By  M.  Angelo.  The  original  is  in  the  Kensington 
Museum,  and  was  bought  from  the  Campana.  It  is  supposed  to 
be  one  of  his  earliest  works,  executed  soon  after  his  first  visit  to 
Rome. 

Dante,  Degli  Alighieri,  an  Italian  poet,  born  1265  and  died 
1321,  author  of  Divina  Commedia  and  Inferno.  In  these  immor- 
tal works  Dante  depicts  a  vision,  in  which  he  is  conducted,  first 
by  Vergil,  the  representative  of  human  reason,  through  hell  and 
purgatory  ;  and  then  by  Beatrice,  the  representative  of  human 
revelation  ;  and  finally  by  St.  Bernard  through  the  several 
heavens,  where  he  beholds  the  triune  god. 

Darwin,  Charles  Robert,  was  born  1809.  He  studied  at  the 
university  of  Ediid)urgh,  in  1825,  and  at  Cambridge  in  1827, 
graduating  in  18;?1.  His  apti*  ide  for  the  study  of  the  natural 
sciences  was  early  perceived  by  his  instructors.  He  accom- 
panied the  expeditions  in  the  Southern  Seas  of  the  Adventure  and 
Beagle,  and  the  zoology,  botany  and  geology  of  the  different 
countries  visited  were  exandned  by  Mr.  Darwin.  His  "Journal" 
of  this  expedition  is  very  attractive  reading.  Since  then  Mr. 
Darwin  has  contributed  to  many  periodicals,  and  written  some 
valuable  works  discussing  philosophiital  theories. 

David,  son  of  Jesse,  second  king  of  Israel,  born  B.  C.  1055 
and  died  B.  C.  1015.  David,  "tlie  sweet  singer  of  Israel," 
wrote  many  psalms  which  are  to-day  read  with  pleasure.  He 
was  very  successful  in  his  wars,  and  from  the  shepherd  who 
slew  Goliath  ho  rose  to  become  the  king  of  the  people  of  Israel. 
This  grand  cast  is  taken  from  the  original  colossal  statue  in  mar- 
ble, 19  feet  high,  in  Florence,  made  by  Michael  Angelo,  repre- 
senting David  about  to  hurl  the  stone  at  Goliath.  The  statue 
was  cut  out  of  one  block  of  marble. 

Dawn — by  M.  Angelo,  original  over  the  tomb  of  Lorenzo  de 
Medici,  in  the  church  of  St.  Lorenzo,  at  Florence. 

Day— by  M.  Angelo,  Original  over  the  tomb  of  Giuliano  de 
Medici,  in  the  church  of  St.  Lorenzo,  at  Florence. 

Demosthenes,  the  greatest  orator  of  Greece,  born  B.  C.  382 
or  385,  died  B.  C.  322.  His  father  was  wealthy,  and  dying  early 
left  him  a  fortune,  which  his  guardians  squandered.  He  resolved 
to  devote  himself  to  public  life,  and  by  hard  study  over- 
came the  physical  disabilities  he  was  laboring  under.  In  public 
life  he  was  patriotic,  eloquent  and  incorruptible.  His  "Phillipics" 
were  wonderful  orations,  in  which  he  exposed  the  intrigues  of 
Phillip  of  Macedon.  His  dauntless  bravery,  his  stainless  purity 
of  public  and  private  life,  his  disinterested  patriotism,  and  his 
services  as  a  statesman  and  administrator,  entitle  him  to  a  place 
among  the  highest  and  noblest  men  of  antiquity. 

Diana  of  Versailles.  This  is  the  most  celebrated  of  the  exist- 
ing statues  of  Diana,  and  came  from  the  Villa  of  Hadrian  at  Tibur. 
She  is  conceived  as  having  just  come  to  the  rescue  of  a  hunted 
deer,  and  is  in  the  act  of  turning  with  angry  mien  on  the  pursuers. 
With  her  right  hand  she  grasps  an  arrow  from  the  quiver  that 
hangs  at  her  back,  and  in  her  left  she  holds  the  bow. 


BIOGRAPHICAL  AND  MYTHOLOGICAL  NOTES. 


Ixi 


Diana  di  Oabii,  marble  in  the  Louvre.  This  statue  takes 
its  name  from  the  place  where  it  was  found  in  1792.  It  is  also 
called  Atalante  adjusting  her  robe.  This  statue  is  unequaled  in 
point  of  maidenly  grace,  in  the  purity  of  expression,  and  in  its 
exquisite  lines  of  drapery. 

Dickens,  Charles,  English  novelist,  born  1812  and  died  1870. 
Dickens  was  a  very  prolific  writer,  and  among  his  list  of  works 
may  be  mentioned  Nicholas  Nickelby,  Old  Curiosity  Shop,  Dombey 
and  Son,  David  Copperfield,  Pickmck  Papers,  Bleak  House,  Hard 
Times,  Tale  of  Two  Cities,  Our  Mutual  Friend. 

Diesterweg,  Friedrich  Adolph  Wilhelm,  great  German 
educator,  born  1790  and  died  1866.  Diesterweg  was  director  of 
the  seminary  for  teachers  of  city  schools  in  Berlin,  from  1832  to 
18.50.  He  wrote  numerous  text-books  on  mathematics  and  geo- 
graphy, and  several  manuals  for  teachers.  He  advoctated  the 
theories  of  Rosseau,  Pestalozzi,  and  modern  liberalism  in  general, 
and  was  constantly  engaged  in  polemics  on  school  reform. 

Diomedes.  A  hero  in  the  ^tolian  and  Argo-Theban 
legends.  The  leader  of  one  of  the  Greek  tribes.  A  favorite  of 
Athene,  from  whom  he  received  the  gift  of  immortality.  He 
carried  off  the  Trojan  Palladium  and  brought  it  to  Argos. 

Discobolus  of  Myron,  in  the  Vatican.  The  original  was 
found  in  Hadrian's  villa  in  1791,  and  placed  by  Pius  VI  in  the 
Vatican.  Myron,  of  Athens,  was  one  of  the  nujst  famous  sculp- 
tors of  his  age.  His  favorite  theme  seems  to  have  been  the 
luiman  figure  in  intense  action. 

Discobolus  of  Naucydes,  marble  in  the  Vatican.  The 
original  was  found  on  the  Appian  way  at  Rome.  The  athlete, 
with  (pioit  in  hand,  is  standing  quietly,  collecting  his  powers  for 
the  crowning  effort.  He  is  about  to  take  his  position  ready  for 
the  throw,  and  is  measuring  the  ground  with  his  eye.  The  dis- 
cus was  a  round  flat  plate  of  metal  or  stone,  about  ten  or  twelve 
inches  in  diameter,  and  when  thrown  it  took  a  rotary  motion. 
Discobolus  means  quoit-thrower. 

Donatello  or  Donato,  Italian  sculptor;  born  1388,  died  14(56. 
There  exist  40  works  of  Donatello  of  unquestioned  authenticity, 
and  31  respecting  which  controversies  have  arisen,  and  25 
recorded  by  his  contemporaries,  but  no  longer  found,  must  be 
added  to  the  number.  He  was  much  admired  and  patronized 
by  Cosmo  and  Pietro  de  Medicis.  His  greatest  works  are  his 
Baptist,  David,  Judith,  St.  George  and  St.  Mark. 

Dryden,  John,  was  born  in  1631  and  died  in  1700.  He  was 
of  a  good  family  and  brought  up  in  an  excellent  school.  In  spite 
of  several  falls  and  many  slips  he  shows  a  mind  constantly 
upright.  He  wrote  in  a  classical  style.  The  greatest  part  of 
Dryden's  poems  are  imitations,  adaptations,  or  copies.  He  was 
more  a  rhymster  than  a  poet.  His  most  famous  poems  are  argu- 
mentative and  satirical. 

Dying  Oaul,  marble  in  Capitoline  Museum,  Rome.  Thought 
to  represent  a  savage  Gaul,  who  has  stabbed  himself  to  avoid 
captivity,  and  fallen  upon  his  shield,  his  sword  lying  beside  him . 

Emerson,  Ralph  Waldo,  born  1803,  and  died  1882,  an  Ameri- 
can essayist  and  poet.  Graduated  at  Harvard  University  in  1821, 
he  bei:ame  pastor  of  a  Unitarian  congregation  in  Boston  in  1829. 
Three  years  later  he  resigned  his  office,  s))ent  a  year  in  England, 
and  then  led  a  quiet,  retired,  meditative  life,  chiefly  at  Concord. 
He  wrote  many  essays  and  delivered  lectures. 

Erato,  original  in  British  Museum.  The  muse  of  erotic 
poetry  and  mimic  imitation.  Sometimes  also  represented  with 
the  lyre. 

Eros  (Amor).  Among  the  most  celebrated  is  the  Torso 
(mutilated  statue)  of  the  Vatican.    Eros  was  commonly  reputed 


the  son  of  Aphrodite  and  Ares,  and  was  generally  depicted  as  a 
boy  of  wondrous  beauty,  on  the  verge  of  youth.  Eros  was 
regarded  as  the  author  of  love  and  friendship  between  youths 
and  men.  On  this  account  his  statue  was  generally  placed  in 
the  gymnasia  between  those  of  Hermes  and  Hercules. 

Eros,  Amor,  or  Cupid.    The  god  of  love.     (See  Amor). 

Eur  pides,  the  most  distinguished  Greek  poet,  born  at 
Salamis,  B.  C.  480,  died  B.  C.  406.  He  lived  on  intimate  terms 
with  Socrates.  He  represents  men,  according  to  the  remark  of 
Aristotle,  not  as  they  ought  to  be,  but  as  they  are.  Hence  the 
preference  given  to  his  plays  by  the  practical  Socrates.  His 
great  excellence  is  the  tenderness  and  pathos  with  which  some 
of  his  characters  are  invested.  Eighteen  of  his  tragedies  are 
extant. 

Euterpe,  marble  in  Louvre.  The  inventress  of  song  and 
wind  instruments  is  here  crowned,  and  holding  a  pipe  or  flute  in 
each  hand.  Remarkable  for  its  pleasant  air,  easy  attitude,  and 
graceful  drapery.     It  was  once  in  the  Villa  Borghese. 

Faun,  Barberini,  in  Glyptothek,  Munich.  In  this  fine  work 
we  have  a  highly  realistic  representation  of  a  youthful  Faun 
stretched  on  a  rock,  partly  covered  by  the  liide  of  some  animal, 
sleeping  off  the  effects  of  intoxication. 

Faun— Satyr.  Capitol,  Rome.  By  Praxiteles.  Praxiteles 
is  known  to  have  made  at  least  three  satyrs,  but  as  there  remains 
no  description  of  any  of  these,  it  is  impossible  to  say  which  is 
reproduced  in  this  figure.  Hawthorn,  speaking  of  this  satyr  in 
his  "  Marble  Faun,"  says  :  "  Only  a  sculptor  of  the  finest  imag- 
ination, the  most  delicate  taste,  the  sweetest  feeling,  and  the 
rarest  artistic  skill— in  a  word,  a  sculptor  and  a  poet,  too— could 
have  first  dreamed  of  a  Faun  in  this  guise,  and  then  have  suc- 
ceeded in  imprisoning  the  sportive  and  frisky  thing  in  marble. 
Neither  man  nor  animal,  and  yet  no  monster  ;  but  a  being  in 
whom  both  races  meet  on  friendly  ground." 

Faun,  by  M.  Angelo.  Museum  at  Florence.  We  have  in 
this  statue  a  representation  of  a  Faun  treading  the  scabellum. 
The  foot  is  raised  and  placed  on  the  high  wooden  shoe  with 
which  he  is  beating  time. 

Faun— With  Kid.  Marble  at  Madrid.  The  springy  step  and 
upward  turn  of  the  head  of  this  Faun,  together  with  the  strug- 
gling kid,  make  a  rustic  group  of  great  spirit. 

Fighting  Gladiator.  This  most  spirited  of  all  statues  was 
found  on  the  coast  of  Actium,  and  is  a  specimen  of  Greek  sculp- 
ture of  the  Fourth  Epoch.  It  is  now  thought  that  this  statue 
does  not  represent  a  gladiator,  but  a  foot  soldier,  defending  him- 
self against  a  horseman.  Whatever  may  be  the  character  repre- 
sented, it  is  certainly  a  most  perfect  masterpiece  of  art. 

Flora  was  the  goddess  of  blossoms  and  flowers,  and  was 
held  in  great  honor  in  Italy.  Artists  have  represented  Flora  as 
the  season  of  spring  in  the  guise  of  a  beautiful  girl  crowned  with 
flowers. 

Franklin,  Benjamin,  American  philosopher  and  statesman; 
born  1706,  and  died  1790.  Early  fond  of  reading  and  study  he 
soon  commenced  to  write  short  articles  for  the  press.  He  learned 
the  printer's  trade  with  his  brother  in  Boston.  In  1723  he  went 
to  Philadelphia  and  soon  gained  the  reputation  of  a  good  work- 
man. After  spending  eighteen  months  in  England  he  returned 
to  Ameirica,  and  in  1730  founded  the  "Pennsylvania  Gazette." 
He  rose  rapidly  in  the  estimation  of  his  fellowmen,  and  was 
honored  by  positions  of  trust.  He  studied,  and  hy  conducting 
experiments  was  able  to  advance  the  science  of  electricity.  He 
was  a  staunch  patriot  during  the  Revolutionary  War,  and  was 
sent  with  commissions  to  England  and  to  France,  which  he  dis- 


Ixii 


C.  HENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


charged  with  great  }ionor  to  himself.  He  served  in  the  Conti- 
nental Congress  and  urged  the  Declaration  of  Independence. 
Franklin  was  honored  and  respected  for  his  simplicity  of  life, 
his  virtues  and  his  extraordinary  common  sense  in  all  matters. 

Froebel,  Friedrich,  German  educationist,  and  the  father  of 
the  Kindergarten  system  ;  born  1782,  and  died  1852.  Froebel 
had  ah  excellent  university  education,  and  early  devoted  him- 
self to  reforming  the  existing  modes  of  instruction  in  common 
schools  by  establishing  schools  and  by  his  writings. 

Garfield,  James  Abram,  20th  President  of  the  United  States, 
born  1831,  and  assassinated  in  1881.  Garfield  was  a  teacher  in 
the  public  schools,  and  in  1856  graduated  at  Williams  College. 
In  1857  he  was  president  of  Hiram  College,  in  1859  and  I860  a 
member  of  the  State  Senate  of  Ohio.  In  1861  he  entered  the 
army  as  colonel,  and  in  1863  was  appointed  chief  of  staff  of  the 
army  of  the  Cumberland,  under  General  Rosecrans.  Entered 
Congress  in  1863,  and  was  re-elected  eight  times.  He  was  elected 
President  of  the  United  States,  but  served  only  a  short  time,  be- 
ing assassinated  by  Guiteau. 

Genius,  a  protecting  spirit,  analogous  to  the  guardian  angel 
invoked  by  the  Church  of  Rome.  The  belief  in  such  spirits 
existed  both  in  Greece  and  at  Rome.  The  genii  are  usually 
represented  in  works  of  art,  as  winged  beings.  The  '  Genius  of 
the  Vatican'  is  the  best  known  of  the  Eros  statues;  it  is  called 
the  '  Centocelle '  Cupid.  The  arms  and  legs  are  gone  ;  the  head 
shows  a  face  of  singularly  soft  and  melancholy  beauty.  It  is 
supposed  to  have  been  executed  by  Praxiteles. 

Germanicus — By  Cleomenes  the  Younger.  Marble  in  the 
Louvre.  Germanicus  was  the  Emperor  of  the  eastern  division 
of  the  Roman  Empire,  A.  D.  19,  and  celebrated  for  his  military 
genius,  learning  and  benevolence.  It  is  supposed  that  the  figure 
represents  some  solemn  decision  rendered  by  the  Emperor. 

Gladstone,  Wm.  Ewart,  prime  minister  of  England,  was  born 
in  1809  at  Liverpool,  where  his  father  had  won  eminence  and 
wealth  as  a  men^iant. 

Gluck,  Cliristoph  Wilibald  von,  German  composer,  born 
1714,  died  in  1787.  Gluck  received  some  training  in  singing  and 
playing  in  the  gymnasia  and  Jesuit  colleges  which  he  attended, 
and  at  18  was  obliged  to  devote  himself  to  giving  lessons  in  order 
to  gain  a  livelihood.  In  1736  he  went  to  Vienna  and  now  had 
an  opportunity  to  see  the  great  works  of  musicians  adequately 
performed.  Having, shown  some  talent  in  composition  he  re- 
ceived in  1740  an  order  to  compose  an  opera  for  the  court  theater 
at  Milan.  The  success  of  this  opera  was  triumphant,  and  the 
composer  was  called  from  city  to  city  in  Italy  to  direct  the  Arta- 
serse.  Opera  upon  opera  was  now  rapidly  produced,  and  he 
went  to  Vienna,  Paris  and  Italy,  to  produce  his  works,  honor  and 
distinction  crowning  his  labors  everywhere. 

Goethe,  Johann  Wolfgang  von,  great  German  author,  born 
1749,  and  died  1832.  Though  preparing  for  the  legal  profession, 
his  real  studies  were  in  the  wide  domain  of  literature,  philosophy, 
and  above  all,  life  and  living  character.  Under  the  Grand  duke 
of  Saxe  Weimar,  he  held  various  positions  until  he  became 
"Actual  Privy  Councillor"  at  the  age  of  thirty,  a  great,  rich  and 
influential  man.  He  devoted  himself  in  his  latter  j'ears  to  the 
study  of  nature  and  the  fine  arts.  His  works  are  numerous,  and 
embrace  all  subjects,  poetry,  literary  criticism,  philosophy,  art 
and  science.  "Werther,"  "William  Meister,"  "Tasso,"  "Goetz," 
"  Faust,"  "  Herman  and  Dorothea,"  "  Iphigenie,"  "  Roman 
Elegies,"  "Egmont,"  are  among  his  works. 

Grant,  Ulysses  Simpson,  general,  and  eighteenth  President 
of  the  United  States,  born  1822,  and  died  in  1885.    Grant  gradu- 


ated at  the  Military  Academy  at  West  Point,  served  in  the  Mexi- 
can war,  and  was  appointed  colonel  in  an  Illinois  regiment  when 
the  civil  war  broke  out.  He  was  repeatedly  promoted  for  meri- 
torious services  until  he  became  the  commanding  general  of  the 
Union  forces  in  1864.  He  compelled  the  surrender  of  Gen.  Lee 
in  1865,  which  closed  the  war.  He  was  elected  President  of  the 
United  States  in  1868,  and  re-elected  in  1872.  At  the  close  of  his 
administration  he  spent  two  years  in  foreign  travel.  He  will 
always  stand  in  history  among  the  greatest  generals  of  the 
world. 

Greek  Slave,  the  most  noted  of  the  works  of  the  great 
American  sculptor,  Hiram  Powers,  who  died  at  Florence  in  1873. 
Six  copies  of  this  magnificent  work  of  art  exist  in  marble,  and 
cast  copies  innumerable  .were  produced. 

Gutenberg,  Johann,  German  reputed  inventor  of  printing, 
born  about  1400,  and  died  in  1468.  Gutenberg,  while  a  citizen  of 
Strasburg,  devoted  many  years  to  mechanical  experiments  of 
various  kinds.  It  is  known  that  in  1438  he  was  in  possession  of 
a  press,  movable  types,  forms,  and  other  appliances  of  the  art. 
During  his  partnership  with  Faust  appeared  the  Appeal  against 
the  Turks,  and  the  well-known  Mazarine  Bible,  their  joint  pro- 
duction. 

Hahnemann,  Samuel  Christian  Friedrich,  German  physi- 
cian and  founder  of  the  homceopathie  system,  born  1755,  died 
1843.  Hahnemann  studied  at  several  universities  in  Germany 
and  obtained  great  reputation  as  a  physician.  Becoming  dissat- 
isfied with  the  common  system  of  practice,  he  made  experiments 
and  discovered  the  law  of  Similia  similibus  curantur  (Like  cures 
like),  the  foundation  of  the  homoeopathic  school  of  practice. 

Handel,  Georg  Friedrich,  a  German  musical  composer,  born 
lt>85,  and  died  in  London,  1759.  His  predilection  for  music  was 
strong  from  early  childhood.  His  father  at  first  refused,  but 
finally  yielded  to  the  arguments  of  the  duke,  who  had  heard  the 
child  play.  His  progress  in  music  was  rapid,  so  that  ten  years 
of  constant  practice  brought  him  to  that  skill  in  composition  by 
which  his  musical  ideas  w-ere  thrown  upon  paper  with  as  much 
facility  as  he  wrote  his  native  German.  Most  of  his  life  was 
spent  in  England,  w'here  his  greatest  works  were  produced.  He 
composed  with  marvelous  rapidity,  and  was  acknowledged  by 
his  compeers  to  be  the  greatest  composer  that  ever  lived.  He 
stands  supreme  in  the  dramatic  oratorio,  the  Messiah,  Israel  in 
Egypt,  Samson,  Judas  Maccabeus,  being  his  greatest  oratorios. 

Haydn,  Joseph,  German  musical  composer,  born  1732,  died 
1809.  His  early  years  were  a  struggle  with  poverty,  but  from 
1751  to  1759,  his  life  was  tliat  of  a  successful  music  teacher.  At 
20  he  had  the  means  to  purchase  works  on  the  theory  of  music 
and  studied  them  diligently.  His  own  pen  was  never  idle.  Be- 
sides his  exercises  in  harmony  and  counterpoise  for  his  own  im- 
provement, he  wrote  pieces  in  infinite  variety  for  his  pupils.  In 
1760  he  was  appointed  chapel-master  to  Prince  Nicholas  Ester- 
hiizy,  and  this  position  Haydn  held  full  thirty  years.  This  now 
gave  him  free  scope  to  try  experiments,  and  to  be  original.  The 
demand  upon  him  for  church  and  instrumental  music  was  con- 
stant ;  for  theatrical  music  frequent ;  and  the  best  of  his  produc- 
tions wcjre  produced  in  Vienna  during  the  winter.  Anything 
like  a  complete  catalogue  of  his  works  during  these  thirty  years 
is  impossible.  His  last  great  works  were  The  Creation  and  The 
Seasons. 

Hehe  represented  the  youthful  bloom  of  nature.  In  Grecian 
mythology  she  appears  as  the  cup-bearer  of  the  gods,  to  whom  at 
meals  she  presents  the  sweet  nectar.  She  had  the  power  of  re- 
storing the  aged  to  youth  and  beauty. 


BIOGRAPHICAL  AND  MYTHOLOGICAL  NOTES. 


Ixiii 


Helen  of  Troy  was  of  surpassing  l)eauty.  In  her  youth  she 
was  carried  off  by  Theseus  and  Pirithous  to  Attica,  from  where 
her  brothers,  Castor  and  Polhix,  liberated  her.  She  was  married 
to  Menelaus,  but  subsequently  carried  away  by  Paris.  Hence 
arose  the  celebrated  Trojan  war. 

Hercules  Farnese.  Museum  of  Naples.  This  statue  was 
found  in  1540  and  brought  by  Caracalla  from  Athens  to  Rome, 
and  in  1786  to  Naples.  The  legs  were  at  first  missing,  but  they 
were  found  twenty  years  later.  This  colossal  statue  is  one  of  the 
most  celebrated  of  antiquity.  The  god  is  resting  on  his  club,  after 
taking  the  apples  of  the  Hesperides  wliich  he  holds  behind  liim 
in  liis  right  hand.  The  smallness  of  the  hand  indicates  the 
scdiool  of  Lysippus.  Of  all  the  Greek  myths,  the  myth  of  Her- 
acles (Hercules)  is  the  most  glorious.  The  first  proof  of  his 
divine  origin  was  in  the  strangling  of  two  serpents  sent  to  destroy 
him,  when  he  was  but  a  Ijabe.  He  was  a  shepherd  until  he  was 
eigliteen.  After  attaining  his  growth  he  slew  the  lion  of  Citbiie- 
ron,  and  led  a  successful  expedition  against  the  King  of  Orclio- 
menus,  freeing  the  Thebans  from  future  tribute.  It  is  impossible 
in  this  short  sketch  to  describe  the  twelve  great  labors  of  Her- 
cules, imposed  ui)on  him,  and  the  other  deeds  for  which  be  was 
famous. 

Hermes — By  Praxiteles.  Hermes  of  Praxiteles,  original  at 
Athens,  found  1877,  in  the  ruins  of  the  temple  Hera,  at  Olympia. 
The  first  stjitues  of  the  god  founde<l  on  the  ancient  Herin<x»,  rep- 
resented liim  as  a  sheplierd,  always  as  a  jjowerful  bearded  man. 
Lati^r  lie  assumed  a  more  youthful  appearance,  and  was  repre- 
sented as  a  beardless  youth  in  the  very  prime  of  strength,  with 
broad  chest,  lithe  powerful  limbs,  curly  hair,  and  small  ears, 
mouth  and  eyes.  Altogether  a  w'onderfid  combination  of  grace 
and  vigor.  If  we  add  to  this  the  ex])ression  of  kindly  benevolence 
which  ])lays  around  his  fairly  cut  lips,  and  the  imiuiring  look  of 
his  face  as  he  bends  forward  thoughtfully,  we  have  the  principal 
characteristic  features  of  the  god. 

Hero  was  a  priestress  of  Aphrodite  (Venus),  in  Sestus. 
Leander,  the  famous  youth  of  Abydos,  swam  across  the  Helles- 
()()nt  every  night  to  visit  Hero.  One  night  he  perished  in  the 
waves;  and  when  his  corpse  was  washed  up  on  the  coast  of 
Sestus  next  morning.  Hero  threw  herself  into  the  sea. 

Hippocrates,  tlie  most  celebrated  physician  of  antiquity, 
was  born  in  tlie  island  of  Cos,  about  B.  C.  460.  Hii)i)ocrates 
traveled  much  and  was  lield  in  higli  esteem  by  his  cotomporaries. 
He  raised  medicine  from  a  system  of  superstitious  rites,  practiced 
wholly  by  the  priests,  to  the  dignity  of  a  learned  profession. 
He  wrote  many  works  on  medicine. 

Homer,  the  great  e])ic  poet  of  Greece,  was  born  about  B.  C. 
850.  He  is  universally  regarded  as  the  author  of  the  two  great 
poems — the  Iliad  and  the  Odyssey. 

Humboldt,  Friedrich  Heinrich  Alexander  von,  German 
naturalist,  born  1769,  died  1859.  Baron  von  Humboldt  was  edu- 
cated at  home  witli  special  care  in  the  natural  sciences.  Ho 
studied  at  several  universities  and  at  the  mining  academy  at 
Freiberg.  He  made  frequent  excursions  to  ditt'erent  i)arts  of 
Germany,  and  traveled  all  over  Europe,  making  botanical  and 
geological  observations.  He  spent  five  years  in  traveling  in 
South  America  and  Mexico,  and  undertook  an  expedition  to 
northern  Asia.  The  results  of  his  travels  and  studies  were  pub- 
Hshed  in  numerous  volumes  of  great  scientific  value.  His  last 
great  work  was  the  Kosmos. 

Hygieia,  the  goddess  of  health,  daughter  of  iEsculapius,  is 
represented  with  a  serpent,  the  symbol  of  health,  drinking  from  a 
cuj(  she  holds  in  her  hand. 


Irving,  Washington,  American  author,  born  178;^,  died  1859. 
Irving  studied  law  at  sixteen,  but  having  no  inclination  for  the 
profession  engaged  in  commerce  with  his  brother,  as  a  silent 
partner,  but  devoted  his  time  to  literature.  Among  his  works 
may  be  mentioned  his  Sketch  Book,  Life  and  Voyages  of  Columhiis, 
Conquest  of  Granada,  The  Alhamhra,  Crayon  Mueellany,  Life  of 
Goldsmith,  Life  of  Washington. 

Isis.  one  of  the  chief  Egyptian  divinities.  She  was  originally 
the  goddess  of  the  earth,  and  afterwards  of  the  moon.  The  Greeks 
identified  her  both  with  Demeter  (Ceres)  and  with  lo.  Her  wor- 
ship was  introduced  into  Rome  towards  tlie  end  of  the  republic. 

Jackson,  Andrew,  seventh  president  of  the  United  States, 
born  1767,  died  1845.  Jackson's  early  education  was  limited. 
He  enlisted  in  the  army  at  13  and  was  able  to  see  some  of  the 
closing  skirmishes  of  the  Revolutionary  War.  Soon  after  being 
released  from  imprisonment  his  mother  died,  and  lie  was  left 
utterly  destitute,  his  father  having  died  aliout  tlie  time  of  his 
birth.  He  commenced  to  study  law  at  18  and  at  20  was  admitted 
to  the  bar.  His  practice  was  in  Nashville,  Tenn.,  and  was  large. 
In  1796  he  was  elected  to  represent  the  new  state  of  Tennessee. 
In  1812,  when  war  was  declared  against  England,  Jackson . 
tendered  his  services,  which  were  valuable  to  his  country.  In 
1828  he  was  elected  to  the  Presidency  and  served  eight  years. 
He  commenced  a  course  of  rigorous  government,  which  he  main- 
tained during  his  term  of  office.  Leaving  Washington,  he 
retiied  to  jjrivate  life,  and  resided  at  the  Hermitage  until  his 
death,  ever  taking  a  lively  interest  in  politics,  and  especially  in 
the  welfare  of  his  party. 

Jahn,  Friedrich  Ludwig,  a  German  patriot,  and  founder  of 
gymnasia  in  Germany  for  physical  (culture,  Ixjrn  in  1778,  died 
1852.  From  patriotic  motives  he  establislie<l  gymnasia  where 
j'ouug  men  were*  fitted  to  endure  the  fatigues  of  war.  From 
these  gymnasia,  which  spread  over  Germany,  is  derived  the 
Turnkunst,  or  system  of  physical  culture. 

Jason,  grew  up  in  Chiron's  cave,  a  favorite  with  gods  and 
men.  After  completing  his  twentieth  year  he  demanded  of  his 
uncle  his  rightful  inheritance,  who  declared  that  he  would 
resign  the  crown  if  Jason  would  recover  the  golden  fleece  from 
Colchis.  Jason,  like  a  true  hero,  at  once  accepted  the  perilous 
adventure.  Thence  the  expedition  of  the  Argonauts.  He  is 
here  represented  hurriedly  tying  on  but  one  sandal,  in  his  haste 
to  seek  liis  uncle  Pelias. 

Jefferson,  Thomas,  third  President  of  the  United  States, 
was  born  in  1743,  and  died  July  4, 1826.  He  had  excellent  school 
advantages,  and  after  remaining  at  the  college  of  William  and 
Mary,  lie  commenced  the  study  of  law.  In  1774  he  j>repared  a 
document  which  was  a  bold,  elaborate,  and  elixiuent  exposition 
of  the  right  to  resist  taxation,  ami  contained  the  germ  of  the 
Declaration  of  Independence.  This  and  other  papers  placed 
him  before  the  country  as  a  courageous  and  uncompromising 
advocate  of  constitutional  freedom,  and  as  an  accomplished  and 
eloquent  writer.  His  work  in  Congress  was  valuable  and  his 
diplomatic  functions  were  performed  with  marked  ability.  He 
served  as  President  for  two  terms  with  marked  vigor.  He  was 
ardently  devoted  to  states  rights,  but  his  views  were  modified 
W'hen  he  wae  President,  and  he  became  convinced  that  the 
federal  government  must  "  show  its  teeth."  He  was  regarded 
as  tlie  epitome  and  incarnation  of  democracy,  as  opposed  to  the 
old  world  of  aristocracy. 

Jeremiah,  a  Hebrew  prophet,  w-as  the  son  of  Hilkiah,  a 
priest  of  Anathoth,  near  Jerusalem.  He  prophesied  from  630- 
590  B.  c,  and  even  later. 


Ixiv 


C   IlENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


Juno,  queen  of  heaven,  and  protector  of  the  female  sex. 
Juno  takes  tlie  same  place  as  goddess  of  childbirth  and  patron- 
ess of  marriage  among  the  Romans  as  Hera  did  among  the 
Greeks. — Hera,  sister  and  wife  of  Zeus  (Jupiter).  In  the  Iliad, 
Hera  is  treated  by  the  Olympian  gods  with  the  same  reverence 
as  her  husband.  Zeus  himself  listens  to  her  counsels,  and  com- 
municates his  secrets  to  her.  She  is,  notwithstanding,  far 
inferior  to  him  in  power,  and  must  obey  him  unconditionally. 
She  is  not  like  Zeus,  the  queen  of  gods  and  men,  l)ut  simply  the 
wife  of  the  supreme  god. — Juno-I/udovisi  is  the  most  celebrated 
of  the  art  monuments  that  relate  to  Juno.  The  Juno  of  the 
Capitol  is  in  tlu^  Capitoline  Museum  at  Rome. 

Juno  Barberini,  original  in  the  Vatican,  Rome,  was  found 
by  Cardinal  Barberini. 

Jupiter.  The  Roman  Jupiter  is  the  Greek  Zeus,  the  life 
giver,  the  creator,  the  ruler  of  heaven  and  earth.  No  ancient 
statues  of  any  merit  have  been  preserved,  but  in  numerous 
antique  gems  fine  busts  of  Jupiter  have  been  found,  which,  no 
doubt,  are  copies  of  the  former  excellent  statues.  The  bust  of 
Zeus  in  Carrara  marble — now  in  the  Vatican  Museum  at  Rome — 
which  was  discovered  in  the  last  century  at  Otricoli,  is  the  first 
in  point  of  artistic  worth.  "The  mighty  locks  raised  in  the 
center,  and  falling  down  on  both  sides,  the  compressed  fore- 
head with  the  bold,  arched  eyebrows,  from  under  which  the 
large  eyes  seem  to  glance  over  the  universe,  the  broad  project- 
ing nose  express  energy  and  wisdom,  while  a  mild  benevolence 
rests  on  the  full,  parted  lips,  and  the  luxuriant  beard  and 
rounded  cheeks  show  sensual  power  and  imperishal)le  manly 
beauty." 

Laocoon,  a  Trojan  priest  of  the  Thymbraean  Apollo.  He 
tried  in  vain  to  dissuade  his  countrymen  from  drawing  into  the 
city  the  wooden  horse  which  the  Greeks  had  left  behind  them 
when  they  pretended  to  sail  away  from  Troy.  As  he  was  pre- 
paring to  sacrifice  a  bull  to  Poseidon  two  fearful  serpents  swam 
out  of  the  sea,  coiled  around  Laocoon  and  his  two  sons,  and 
destroyed  them.  His  death  forms  the  subject  of  a  magnificent 
work  of  ancient  art  preserved  in  the  Vatican. 

Leasing,  Gotthold  Ephraim,  a  German  author,  born  1729, 
and  died  1781.  Lessing  studied  at  Leipsig,  his  father  desiring 
him  to  study  theology,  but  his  restless  and  inquiring  disposition 
soon  directed  him  from  theology  and  he  ac(iuired  a  jnission  for 
the  theater.  He  commenced  writing  dramatic  pieces  and 
poems.  His  writings  gradually  extended  over  a  wide  field  until 
they  covered  many  departments  of  literature  and  art.  Lessing 
has  done  much  to  give  to  German  literature  its  present  many- 
sided  character,  and  to  strengthen  German  criticism  by  a  study 
of  art.  Minna  von  Banilielm,  Laokoon,  Nathan  der  Weise,  and 
Erziehnng  des  Mennchengechlechts,  are  some  of  his  principal  works. 

Leucothea.  Her  first  name  was  Ino.  Having  excited  the 
anger  of  the  goddess  Juno,  she  fled,  and  being  pursued,  she  pre- 
cipitated herself  into  the  o<«an  and  became  a  sea-nymph,  her 
name  being  changed  to  Leucothea,  the  white  goddess.  Her  son, 
Palaemon,  was  the  protecting  genius  of  harbors. 

liincoln,  Abraham,  sixteenth  president  of  the  United  Stales; 
was  born  in  ISfK).  His  school  advantages  were  very  meager,  and 
he  was  early  at  work  on  the  farm.  By  studying  law  during  his 
spare  time  he  was  able  to  ])as8  his  examination  and  was  admitted 
to  the  practice  of  law  in  1836.  He  favored  the  election  of  Henry 
Clay  in  1844,  was  sent  to  Congress  in  1846,  where  he  voted  against 
the  extension  of  slavery.  In  1860  he  was  nominated  for  the 
presidency  by  the  Republican  party  and  elected  by  the  northern 
states.    The  record  of  Lincoln's  great  services  to  the  country 


during  the  civil  war  need  not  be  given  here,  as  it  is  familiar  to 
all.  At  the  close  of  the  war  he  was  assassinated  on  the  15th  of 
April,  1865. 

Liszt,  Franz,  Hungarian  pianist  and  composer  ;  born  1811, 
died  1886.  At  six  years  of  age  he  manifested  so  extraordinary 
an  aptitude  for  music,  that  his  father,  himself  a  musician  of  some 
repute,  thenceforth  carefully  instructed  him  on  the  pianoforte. 
He  was  instructed  by  masters  in  Vienna,  after  which  he  appeared 
in  concerts  with  great  success.  The  death  of  his  father  made  a 
deep  impression  upon  him  and  he  surrendered  himself  to  gloomy 
fancies  and  religious  rhapsodies.  He  retired  from  the  world  for 
several  years,  and  almost  wholly  relinquished  his  art.  In  1835 
he  re-appeared  in  Paris  and  was  received  with  great  eclat.  He 
now  gave  concerts  in  Italy  and  Vienna,  and  throughout  Europe; 
his  career  was  a  succession  of  triumphs.  In  1847  he  became  con- 
ductor of  the  court  concerts  and  the  opera  at  Weimar.  He  was 
one  of  the  most  prolific  composers  of  his  generation.  As  an  in- 
terpreter of  Bach,  Handel,  Beethoven  and  the  older  composers, 
he  stood  pre-eminent. 

Longfellow,  Henry  Wadsworth,  American  poet ;  born  1807, 
died  1882.  Graduated  at  Bowdoin  College  in  1825.  He  traveled 
much  in  Europe,  and  was  professor  of  modern  languages  at  Bow- 
doin, and  later  at  Harvard.  He  began  his  literary  work  while  a 
student  at  Bowdoin,  and  while  professor  contributed  many  able 
artic^les  to  the  North  American  Review.  Among  his  poems  may  be 
mentioned  Hiawatha,  Evangeline,  Miles  Stmidish.  His  works  are 
much  read  in  Europe,  and  have  been  translated  into  most  of  the 
Continental  languages. 

Lucius  Verus.     (See  Verus). 

Luther,  Martin,  the  greatest  of  the  Protestant  reformers  of 
the  16th  century  ;  born  1483,  died  1546.  He  studied  at  the  uni- 
versity at  Erfurt  for  the  legal  profession.  Later,  however,  he 
entered  a  convent  to  devote  himself  to  a  spiritual  life.  In  1507 
he  became  a  teacher  in  the  University  at  Wittenberg.  On  his 
return  from  a  visit  to  Rome,  his  work  as  a  reformer  commenced. 
He  attacked  the  abuses  and  the  doctrinal  system  of  the  Church 
of  Rome,  and  defended  his  position  before  the  assembled  powers 
of  Germany.  He  translated  the  Bible  in  his  seclusion  which  fol- 
lowed. Later  he  taught  by  word  and  published  works  in  the 
doctrines  of  the  Protestant  faith  until  his  death. 

Madonna  of  Nuremberg.  This  beautiful  figure  carved  in  wood 
of  life  size,  is  found  in  the  Convent  at  Landau.  Scul{)tor  unknown. 

Mars  was  the  god  of  war — one  of  the  gods  of  Olympus. 

Medici,  Qiuliano  de,  an  ideal  portrait  by  Michael  Angelo. 
Giuliano  was  a  son  of  Pietro  de  Medici,  and  brother  to  Lorenzo, 
the  Magnificent.  He  was  assassinated  during  divine  service  by 
consiiirators  in  Florence. 

Medici,  Lorenzo  de,  surnamed  the  Magnificent;  born  1448, 
died  1492.  He  early  displayed  extraordinary  talent;  in  poetry, 
in  his  great  penetration,  great  courage  and  good  sense,  he 
rendered  himself  conspicuous.  Athough  dignified,  he  had 
pleasing  manners.  Lorenzo  was  educated  by  the  first  scholars 
of  the  age;  and  later  traveled  much.  After  his  father's  death 
he  was  requested  to  assume  the  administration  of  the  Florentine 
republic.  He  became  eminent  as  a  statesman.  He  had  in- 
curred the  displeasure  of  Pope  Sixtus  IV.  which  wouhl  have 
led  to  war,  but  was  averted  by  his  courage  and  magnanimous 
behavior.  Two  attempts  were  made  to  assassinate  him.  Lo- 
renzo was  a  munificent  patron  of  authors  and  artists,  and  spent 
large  sums  for  public  edifices,  schools  and  libraries. 

Medusa  Rondanini,  Glyptothek,  Munich.  In  this  Medusa 
was  not  conceived  a  monster  who  created  terror  by  her  ugh- 


BIOGRAPHICAL  AND  MYTHOLOGICAL  NOTES. 


Ixv 


ness,  but  a  being  possessed  of  great  beauty  wliose  power  came 
from  her  coldness  and  want  of  all  feelimr. 

Mendelssohn  Bartholdy,  Felix,  German  musical  comjioser; 
born  1809,  died  1847.  His  early  education  was  carefully  attended 
to,  having  liad  the  best  of  instruction.  He  wrote  works  at  15  wliicli 
are  still  regarded  as  classical  nuisic.  He  gave  successful  concerts 
in  Paris.  He  was  more  aj)iireciated  in  England  than  at  home. 
His  greatest  oratorios  are  Ht.  Paul  and  Elijah,  and  his  overture  to 
Shalsespeare's  "  Midsummer  Night's  Dream."  Mendelssohn  was 
as  beloved  for  his  character  as  he  was  admired  for  liis  genius. 

lYCenelaus  and  Patroclus.     See  Ajax  and  Achilles. 

Mercury,  the  Greek  god,  Hermes,  the  son  of  Zeus  and  Maia. 
Various  attributes  are  assigned  to  him,  according  to  tlie  different 
countries  where  he  was  deified.  He  is,  therefore,  represented 
as  the  god  of  speech,  of  eloquence,  of  the  sciences,  of  traffic,  and 
of  herds;  as  the  messenger,  herald  and  ambassador  of  the  gods. 

Meyerbeer,  .Jakob,  great  Gernum  comjioser;  born  17i>4,  died 
18()4.  After  studying  music  in  Germany  and  composing  several 
operas,  he  removed  to  Italy  to  study  the  Italian  style.  He  com- 
posed and  produced  the  great  operas  Cronato,  Robert  le  Diahle, 
Lea  Huguenots,  Le  Prophete,  Pierre  U  Grand  and  Dinorah. 

Milton,  John,  English  poet ;  born  1608,  died  1674.  Milton 
was  I'are fully  nurtured  and  educated  by  i)rivate  tutor  and  in  col- 
lege ;  he  took  his  degree  in  1631  and  left  Cambridge,  having  re- 
linquished the  idea  of  following  law  or  divinity.  He  went  to 
reside  in  his  father's  house  studying  and  composing.  After  the 
execution  of  King  Charles,  he  was  appointed  Latin  Secretary  to 
the  Council  of  State.  Unceasing  study  ruine<l  his  eyesight. 
Milton  was  alxjve  all  English  poets,  stately  and  grandiose.  For 
niassiveness  of  thought  and  sublimity  of  imagery  his  epic  poem. 
Paradise  Lost,  stands  without  a  rival. 

Minerva,  called  Athena  by  the  Greeks,  was  one  of  the  great 
Roman  divinities.  She  was  worshipped  as  the  goddess  of  wis- 
dom and  the  patroness  of  all  the  arts  and  trades.  Minerva  also 
guided  men  in  the  dangers  of  war,  where  victory  is  gained  by 
prudence,  courage  and  perseverance.  She  was  further  believed 
to  l)e  the  inventor  of  musical  instruments,  especially  wind  in- 
struments, the  use  of  which  was  a  very  important  part  of  religious 
worship.  Pallas  Giustiniani,  or  Minerva  Giustiniani,  of  the 
Vatican  Museum  at  Rome,  is  held  to  be  the  finest  among  exist- 
ing full-length  statues. 

Minerva  Medica.  The  Pallas  Athene  of  the  Vatican.  It  was 
found  in  the  temple  of  Minerva  Medica  on  the  Esquiline,  Rome. 

Moltke,  Count  von,  was  born  in  Mecklenburg,  1800.  He 
entered  the  Prussian  army  when  he  was  22  years  of  age;  became 
major-general  in  1856  and  chief  of  royal  staff  1858;  lieutenant- 
general  in  1869,  and  was  created  a  count  in  1870.  In  1874  and 
1877  he  was  elected  to  the  Reichstag  and  also  made  a  life  mem- 
ber of  the  Upper  House. 

Monteflore,  Sir  Moses,  English  Jewish  philanthropist;  born 
1784,  died  1885.  Montefiore  was  married  to  a  sister-in-law  of 
Nathan  Meyer  Rothschild,  the  founder  of  the  London  branch  of 
that  house.  He  visited  Palestine  several  times  and  was  nuich 
interested  in  the  Jewish  colonies  there,  aiding  them  in  various 
ways.  He  secured  from  the  different  governments  concessions 
which  looked  to  the  amelioration  of  the  condition  of  the  Jews  in 
those  countries.     His  charity  was  unbounded. 

Moses,  the  Jewish  law-giver.  Moses  in  his  infancy  having 
fallen  into  the  handsof  the  daughter  of  Pharoah,  she  raised  him. 
He  received  his  education  at  the  court.  Leaving  tlie  court  when 
arrived  at  manhood,  he  devoted  his  life  to  his  people,  being  their 
teacher  and  lawgiver. 


Mozart,  Wolfgang,  one  of  the  greatest  of  musical  composers; 
was  born  17.56,  and  died  1791.  At  the  age  of  four  he  played  the 
clavichord  and  composed  a  nundjer  of  minuets.  At  six  he  played 
in  public  and  astonished  old  musicians  by  his  organ  playing. 
His  father  traveled  with  him  until  he  was  ten,  exhibiting  his 
wonderful  skill  before  crowded  liouses.  At  tliirteen  he  traveled 
with  his  father  to  Italy,  where  he  created  an  unheard-of  enthu- 
siasm by  his  performances  and  compositions.  At  sixteen  he  was 
the  first  clavicinist  in  the  world.  In  1779  he  was  appointed  com- 
poser to  the  roval  court  at  Vienna,  where  he  fixed  his  residence, 
and  there  the  musical  works  were  composed  upon  which  his  fame 
chiefly  rests.  His  great  opera,  Idomeneo,  was  composed  in  1780. 
The  opera  forms  an  epoch  in  the  history  of  music.  In  1787  he 
produced  Don  Giovanni;  in  1791  his  ZauberflSte,  La  Clemenza  di 
Tito,  and  the  sublime  Requiem,  composed  in  anticipation  of,  and 
finished  only  a  few  days  before  his  death. 

Myrina.     Myrina  was  a  queen  of  the  Amazons  of  Libya. 

STapoleon,  Bonaparte.  Napoleon  I,  Emperor  of  the  French ; 
born  1769,  died  1821.  Napoleon  was  admitted  to  the  military 
school  at  Brienne,  in  1779,  and  in  1784  to  the  school  at  Paris,  to 
complete  his  studies,  and  entered  the  army  as  lieutenant  of  artil- 
lery in  1785.  At  the  siege  of  Toulon,  in  1793,  he  displayed  extra- 
ordinary military  intelligence  and  activity,  and  laid  the  founda- 
tion of  his  whole  subsequent  career.  His  campaigns  in  Italy  and 
the  wars  of  Europe,  whereby  he  subjected  nearly  all  of  Europe, 
his  Egyptian  campaign,  his  defeat  in  Russia,  and  his  final  defeat 
at  the  battle  of  Waterloo,  have  become  part  of  the  world's  his- 
tory, and  effected  great  changes  in  tlie  dynasties  of  Europe. 
Napoleon  was  made  First  Consul  of  France  in  1799,  and  assumed 
the  title  of  Emperor  in  1808.  He  was  compelled  to  abdicate  in 
in  1815,  and  died  as  a  prisoner  on  the  island  of  St.  Helena,  in 
1821. 

Narcissus,  original  at  Naples,  found  in  1870  at  Pompeji.  A 
beautiful  youth,  who  was  inaccessible  to  the  feeling  of  love. 
The  nymph  Echo,  who  was  enamored  of  him,  died  of  grief.  But 
Nemesis,  to  punish  him,  caused  him  to  see  his  own  image  re- 
flected in  a  fountain,  whereupon  he  became  so  enamored  of  it 
that  he  gradually  pined  away  until  he  was  metamorphosed  into 
the  flower  which  bears  his  name. 

Nero,  a  Roman  Emperor;  born  A.  D.  37,  died  by  his  own 
hand  in  68.  Under  the  care  of  the  philosopher  Seneca,  he  is 
said  to  liave  made  some  progress  in  learning,  and  in  his  sixteenth 
year  he  delivered  an  oration  in  Greek.  The  first  five  years  of 
his  reign  were  marked  l)y  clemency  and  justice.  After  which  he 
gave  himself  up  to  a  dissolute  life.  Chariot  racing,  music,  and 
every  frivolous  amusement  engrossed  his  time.  The  military 
events  of  Nero's  reign  were  glorious  to  the  Roman  arms.  He 
was  finally  condemned  to  death,  but  committed  suicide  in  the 
presence  of  the  soldiers  who  came  to  seize  him. 

Ne-wrton,  Sir  Isaac,  English  philosopher  and  mathematician ; 
born  1642,  died  1727.  Newton  received  his  early  education  at  the 
grammar  school  near  home.  He  left  home  for  Cand)ridge  in 
1661,  and  immediately  devoted  himself  to  mathematical  studies. 
His  progress  was  rapid  and  he  had  soon  mastered  all  the  works 
then  existing.  His  progress  in  these  studies  was  accompanied 
by  the  discovery  of  laws  in  nature,  and  after  the  discovery  of 
the  law  of  universal  gravitation  and  its  ap]>lication,  became  ab- 
sorbed in  investigations  into  the  nature  of  light  and  the  construc- 
tion of  telescopes.  He  sat  in  Parliament,  and  was  Warden  of 
the  Mint  for  31  years. 

Night,  by  M.  Angelo,  original  over  the  tomb  of  Giuliano  de 
Medici,  in  the  church  of  St.  Lorenzo,  at  Florence. 


Ixvi 


a  HENNECKE  00.,  MILWAUKEE  AND   OHIO  A  GO. 


Niobs,  wife  of  Ainphion,  Kinjr  of  Thebes.  Proud  of  the 
uuniber  of  her  children,  she  deemed  herself  superior  to  Leto 
(Latona),  who  had  given  birth  to  only  two  children.  Apollo  and 
Diana,  indignant  at  such  presumption,  slew  all  her  children  with 
their  arrows.     Niobe  herself  Wii.s  metamorphosed  into  stone. 

Niobid,  daughter  of  Niobe.  This  is  considered  the  finest  of 
the  whole  group  of  fourteen  figures,  in  Florence.  The  group 
consists  of  Niobe  and  her  youngest  daughter,  three  other 
daughters,  the  preceptor  and  youngest  son,  and  five  other  sons. 
Of  the  many  copies  of  members  of  the  grcjup,  the  daughter  of 
Niobe  in  the  Vatican  stands  unrivalled. 

O'Connell,  Daniel,  Irish  orator  and  political  agitator;  born 
1775,  died  1847.  O'Connell  received  a  good  education,  was  called 
to  the  bar  in  1798,  and  soon  became  distinguished  as  a  brilliant 
and  successful  advocate.  He  had  no  sympathy  with  the  violent 
revolutionary  spirit  of  the  period.  He  became  gradually  ab- 
sorbed in  politics,  and  was  soon  the  acknowledged  leader  of 
political  reform  in  Ireland.  Through  his  efforts  Parliament 
repealed  the  civil  disal)ilities  to  wliich  Catholics  had  been  so 
long  subject.  He  addressed  monster  meetings  in  Ireland, 
making  the  most  exciting  speeches.  These  meetings  were 
stopped  by  the  government  and  O'Connell  arrested  and  fined  as 
a  conspirator.  Upon  appeal  to  the  house  of  lords  the  decision 
was  reversed.  O'Connell  grew  feeble,  and  early  in  1817  set  out 
on  a  journey  to  Rome,  but  died  on  the  way  at  Genoa. 

Omphale  was  a  queen  of  J^ydia.  It  is  related  that  Hercules 
served  her  as  a  slave  for  three  years,  he  sometimes  wearing  her 
dress,  while  Omphale  put  on  the  skin  and  carried  the  club. 

Orpheus,  Eurydice  and  Mercury,  bas-relief  in  the  Villa 
Albani,  Rome.  This  relief  reiircsents  the  tragic  moment  in  the 
story  of  Orpheus  when  he  turns  to  look  at  Eurydice  as  she  is 
led  out  of  Hades.  At  the  left  is  Mercury,  who  has  accompanied 
Eurydice,  and  now  takes  her  hand  to  lead  her  back. 

Paris,  second  son  of  Priam  and  Hccul)a.  Paris,  by  carrying 
ofl'  Helen,  the  wife  of  Menelaus  ])rovoked  the  Trojan  war. 

Penelope,  in  Homeric  legend  the  wife  of  Ulysses  and 
mother  of  Telemachus. 

Pericles,  the  most  accomplished  statesman  of  ancient 
Greece,  was  born  of  distinguishe<l  parents  in  the  early  {)art  of 
the  fifth  century  B.  C.  He  received  an  elaborate  education,  and 
was  conspicuous  all  through  his  career  for  the  singular  dignity  of 
his  manners,  the  "Olympian"  thunder  of  his  eloquence,  his 
sagacity,  probity  and  profound  Athenian  patriotism.  So  tran- 
scendent were  his  abilities,  that  he  rapidly  rose  to  the  highest 
power  in  the  state,  as  the  leader  of  the  dominant  democracy. 
Greek  architecture  and  sculpture  under  his  patronage  reached 
perfection-.  To  Pericles  Athens  owed  the  Parthenon,  the  Pro- 
pyls, the  Odeum,  and  other  edifices.     He  died  in  429  B.  C. 

Pestalozzi,  Heinrich  Johann,  Swiss  educationist;  born  1746, 
died  1827.  Through  the  reading  of  Rousseau's  Em\U  he  was 
induced  to  abandon  his  legal  and  historical  studies  and  engage 
in  educational  reform.  By  opening  educational  institutes  and 
by  his  writings,  he  gave  to  the  world  a  full  exposition  of  his 
educational  views. 

Plato,  Greek  philosopher;  born  at  Athens,  either  in  B.  C. 
429  or  428.  A  pupil  of  Socrates,  and  one  of  the  most  fascinating 
writers  that  ever  undertook  to  exjjound  the  enigmas  of  philos- 
ophy. He  is  at  once  poet  and  philosopher.  Of  his  works  we  can 
only  mention  Then-tetim,  Sojihistes,  Parmenides,  and  the  Statesman; 
Phierdrus,  Si/mpouum,  Phicdo,  Philehus,  the  Mepuhlic  and  the  Laws. 

Polyhymaia.  Marble  in  the  Louvre.  The  muse  of  song  is 
here  represented  leaning  upon  a  rock  of  Helicon,  listening  to  the 


melody  around  her.  The  statue  was  once  in  the  Villa  Borghese 
In  addition  to  its  air  of  listening  repose,  the  figure  is  an  admir- 
able model  of  drapery. 

Polyphemus,  son  of  Neptune,  was  the  most  celebrated  of  the 
fabulous  Cyclii])s,  who  inhabited  the  island  of  Sicily.  He  was  of 
immense  size  and  had  but  one  eye.  When  Ulysses  landed  on  that 
island  he  was  confined  in  the  cave  of  Polyphemus  with  twelve 
companions  of  which  Polyphemus  killed  six.  The  others  were  ex- 
pecting the  same  fate,  but  Ulysses  made  Polyphemus  drunk  and 
then  with  a  blazing  torch  |)ut  out  his  eyes  and  escaped,  leaving 
the  blinded  monster  to  grope  about  in  the  darkness. 

Prometheus  Bound,  original  in  National  Gallery,  Berlin,  by 
Edward  Mueller.  According  to  one  account  the  Titan  Prometheus 
was  the  creator  of  mankind.  He  is  said  to  have  stolen  fire  from 
heaven  and  to  have  taught  its  use  to  man.  As  punishment  for 
this  Zeus  ordered  Prometheus  to  be  chained  to  a  rock,  where, 
during  the  day  time,  an  eagle  devoured  liis  liver,  which  always 
grew  again  during  the  night.  Prometheus  was  thus  exposed 
to  perpetual  torture;  but  Hercules  killed  the  eagle  and  deli- 
vered the  sufferer,  with  the  consent  of  Zeus.  Albani,  a  modern 
Italian  sculptor,  executed  a  group  of  Prometheus.  It  is  con- 
sidered very  fine. 

Psyche,  "the  soul,"  occurs  in  the  later  times  of  antiquity  as 
a  personification  of  the  human  soul.  In  works  of  art  Psyche  is 
represented  as  a  maiden  with  the  wings  of  a  butterfly.  She  is 
often  seen  in  connection  with  Amor  (Cupid).  Amor  enables 
her  to  bear  the  hard  and  humiliating  labors  imposed  upon  her 
by  Venus,  under  which  she  is  suffering  and  almost  perishing. 

Pudicitia,  Berlin,  a  personification  of  modesty,  was  wor- 
8hi])i)ed  botli  in  Greece  and  at  Rome. 

Bape  of  the  Sabines.  One  of  the  finest  works  of  Gio- 
vanni da  Bologna  is  the  Rape  of  the  Sabines,  in  which  there  is 
some  very  fine  modeling  in  the  figure  of  the  Roman  who  is 
carrying  off  the  girl.  It  is  said  that  the  artist  designed  this 
group  to  represent  the  three  marked  ages  of  nian^youth,  man- 
hood, and  old  age;  but  a  friend,  seeing  his  wax  model,  found 
the  attitudes  so  suggestive  of  the  more  classic  subject,  that  Gian 
Bologna,  acting  on  his  advice,  changed  his  design  to  the  subject. 

Raphael,  Santi,  born  148.'^,  son  of  Gio  Santi,  a  good  painter. 
Perugino,  Riiphael's  teacher,  was  characterized  by  "stainless 
purity  of  soul,  by  the  highest  aspirations,  by  feelings  sad  and 
enthusiastically  tender."  He  studied  the  works  of  Leonardo  da 
Vinci  and  Michael  Angelo,  and  a  new  life  pervaded  his  paintings. 
He  made  friends  everywhere,  and  at  his  appearance,  even 
among  painters,  ill-humor  vanished.  Vasari  said,  "Nature  hav- 
ing been  conquered  by  art  through  the  hand  of  Michael  Angelo, 
was  in  Raiihael  con(]uered  by  art  and  manners  together." 
Raphael  died  on  Good  Friday,  1520.  Pope  Gregory  XVI,  had 
his  grave  opened  118  years  after  his  death,  and  most  impressive 
funeral  services  took  place.  His  works  were  numerous  and 
excited  the  wonder  and  admiration  of  all.  His  "  Holy  Family  " 
an<l  his  "Madonnas"  are  well  known. 

Begulus,  Marcus  Atilius,  a  favorite  hero  with  the  Roman 
writers.  He  was  chosen  consul  twice  and  sent  against  the  Car- 
thaginians in  the  first  Punic  War.  For  sometime  he  was  victor- 
ious in  every  encounter,  but  at  last  suffered  defeat.  Regulus  was 
taken  prisoner  and  kept  in  captivity  for  five  years.  His  embassy 
to  Rome  at  the  end  of  that  time  forms  an  interesting  chapter  in 
Roman  history.  Upon  his  return  to  Carthage,  he  was  put  to 
death. 

Rossini,  Gioacchino,  an  Italian  composer;  born  1792,  died 
18()8.     His  parents  were  members  of  a  strolling  operatic  company. 


BIOGRAPHICAL  AND  MYTHOLOGICAL  NOTES. 


Ixvii 


At  ten  years  of  age  he  played  the  second  horn  in  the  orohestra. 
He  had  a  soprano  voice  of  great  purity  and  compass.  In  1829  he 
produced  Guillaume  Tell,  generally  considered  his  master  piece 
in  serious  composition.  His  operas  number  about  forty.  He 
also  wrote  cantatas,  hymns,  and  miscellaneous  vocal  and  instru- 
mental pieces. 

Rubens,  Peter  Paul,  Flemish  painter;  born  at  Siegen,  Ger- 
many, .Tune  29,  l.")7";  died  in  Antwerp,  May  80,  1&40.  He  was 
one  of  tlie  most  distinguished  painters  of  his  time.  His  Madon- 
nas, Magdalens,  and  female  saints  are  literally  imitated  from 
Flemish  types  of  womanhood.  As  an  animal  painter  he  showed 
great  excellence. 

Saint  Bruno,  the  founder  of  the  Carthusian  order  of  monks, 
was  born  at  Cologne,  1051.  He  was  troubled  by  the  wickedness 
of  tlie  time  and  took  refuge  with  six  pious  friends  in  a  desert 
place  near  Chartreuse.  Here  he  founded  the  most  ancient  of 
all  orders.  Each  of  the  monks  had  a  separate  cell,  only  Ijeing 
allowed  to  see  each  other  Sundays. 

Saint  Cecilia,  the  patroness  of  music,  is  said  to  have  suf- 
fered martyrdom  in  2:W  A.  D.  Her  heathen  parents  belonged  to 
a  noble  Roman  family,  and  betrothed  their  daughter,  who  had 
become  a  Christian,  to  a  heathen.  This  youth  and  his  brother 
also  were  converted  and  suffered  martyrdom.  St.  Cecilia,  wlien 
commanded  to  sacrifice  to  idols,  refused  and  was  condinnned  to 
death.     Slie  is  said  to  liavc  invented  tlie  organ. 

Saint  Francis  of  Assisi,  founder  of  the  Franciscan  order, 
and  a  saint  of  the  K.  C.  Church,  was  one  of  the  most  extraordi- 
nary men  of  his  age;  born  1182.  During  an  illness,  contracted 
while  a  prisoner  of  war,  Iiis  thoughts  were  turned  from  earth 
and  he  resolved  to  fulfill  the  counsels  of  the  gospel.  Two  of 
his  fellow-townsmen  were  his  first  associates,  followed  very 
slowly  by  otliers  until  in  1219,  when  he  held  his  first  general 
assembly;  .5,(KX)  people  were  present.    He  died  1226. 

St.  Jerome,  one  of  the  four  greatdoctors  of  the  Latin  Church. 
Born  about  340,   died  in  Bethlehem  September  30,  420. 
Satyr,  see  Faun. 

Schiller,  Johann  Christoph  Friedrich  von,  great  German 
poet;  born  1759,  died  1805.  Schiller  was  first  destined  for  the 
church,  and  next  for  the  law,  but  he  chose  medicine,  and  in  1780 
became  a  surgeon  in  the  army.  At  an  early  age  he  composed 
poems  and  dramas.  He  left  his  profession  and  devoted  himself 
to  writing  for  the  stage.  He  soon  produced  dramas  and  other 
literary  productions  of  extraordinary  merit.  In  1879  he  was 
appointed  professor  of  history  at  Jena,  and  in  1791  finished  his 
History  of  the  Thirty  Years'  War.  He  was  a  warm  friend  of 
Goethe.  His  first  drama  was  Die  Rauher,  his  last  Wilhelm  Tell. 
Schubert,  Franz,  German  composer;  born  1797,  died  1828. 
Schubert  raised  the  German  Lied  to  a  place  in  musical  art  which 
it  had  not  previously  occupied.  His  fame  is  wholly  posthumous, 
and  has  constantly  gained  strength  since  his  death.  He  left  an 
astonishing  number  of  compositions,  including  nine  symphonies, 
several  operas,  mas.ses,  overtures,  a  great  deal  of  chamber  and 
pianoforte  music,  and  about  000  songs. 

Schumann,  Robert,  German  musi('al  composer;  born  1810, 
died  1856.  Up  to  the  age  of  18  his  musical  education  was  to  a 
great  extent  self-directed.  He  then  attended  the  University  of 
Leipsig.  Up  to  1840  nearly  all  his  compositions  had  been  for  the 
piano.  Between  1840  and  18.54  he  produced  those  great  works 
upon  which  his  fame  chiefly  rests,  his  symphonies,  his  quintet 
opus  44  and  quartet  opus  47,  "Paradise  and  the  Peri,"  "The  Pil- 
grimage of  the  Rose,"  and  many  other  works  of  large  scope. 

Scott,  Sir  Walter,  Scottish  novelist  and  poet;  born  1771,  died 
1832.    From  his  earliest  childhood  onward,  he  was  a  ravenous 


and  insatiable  reader;  his  memory  was  of  extraordinary  range 
and  tenacity.  A  perfect  stream  of  novels  and  poems  flowed  from 
his  pen.  The  Waverly  Novels,  and  his  Napoleon,  are  known  to 
most  readers;  and  of  his  poems,  The  Lay  of  the  Last  Minstrel,  and 
the  Laily  of  tlie  Lake,  are  known  to  our  youth. 

Seneca,  Lucius  Annaeus,  a  Roman  stoic  philosopher;  born 
a  few  years  before  the  Christian  era,  died  in  Rome,  A.  D.  65. 
The  character  and  works  of  Seneca  have  been  the  subject  of 
much  controversy.  He  was  no  beUever  in  the  superstitions  of 
his  country,  and  has  been  called  an  atheist,  but  his  religion 
seems  to  have  been  a  pure  deism.  His  works  were  chiefly  on 
moral  and  philosophical  subjects.  He  was  also  the  author  of  ten 
tragedies.  His  language  is  clear  and  forcible.  He  was  put  to 
death  by  Nero. 

Shakespeare,  William,  was  born  in  April,  1564.  He  attended 
tlie  Free  Grammar  School  of  Stratford,  until,  in  consequence  of 
his  father's  difficulties,  he  was  withdrawn  from  school,  and  set  to 
earn  a  living  in  some  way  for  himself.  AVhat  his  precise  employ- 
ment was,  is  a  question  which  affords  room  for  much  guessing, 
but  one  which  cannot  be  answered  with  certainty.  At  18  he  was 
married  to  Anne  Hathaway.  She  was  8  years  older  than  her 
boy  husband.  For  a  number  of  years  we  hear  nothing  of  him, 
until  he  is  spoken  of  in  1592  as  a  successful  actor  and  author. 
The  "  Queen's  Players  "  came  to  Stratford  in  1587.  Then  perhaps 
it  was  that  Shakespeare  decided  to  leave  his  native  town,  and 
seek  his  fortune  in  the  world  of  London.  In  1593  he  was  rapidly 
producing  his  historical  plays  and  eariier  comedies.  In  1602  he 
finished  his  Hamlet,  and  in  1604  his  King  Lear.  He  died  in  1616. 
By  the  voice  of  the  whole  civilized  world  his  name  is  "  the  first 
in  all  literature ;"  in  imagination,  in  fancy,  in  knowledge  of  man, 
in  wisdom,  in  wit,  in  humor,  in  pathos,  in  strength,  in  versatility, 
in  felicity  of  language,  in  the  music  of  his  verse,  and  in  that 
my.sterious  power  which  fuses  all  these  separate  powers  into  one, 
and  makes  them  a  single  means  to  a  single  end,  he  stands  unap- 
proacliod  and  seemingly  unapproachable. 

Sheridan,  Phiiiii  Henry,  greatly  distinguished  himself 
during  the  Civil  war.  Sheridan's  raid,  May  8-25,  in  1864,  is 
among  the  brilliant  points  of  the  war,  whose  close  it  greatly 
hastened,  and  Sheridan's  ride  before  the  battle  of  Winchester 
has  taken  its  place  in  history  and  invaded  the  domain  of  poetry. 
He  was  born  in  Ohio,  1831 ;  died  1887. 

Silenus  and  the  Infant  Bacchus,  Louvre,  Paris.  This 
group  was  found  at  Rome  during  the  sixteenth  century.  We 
have  here  Silenus,  the  satyr  who  brought  up  and  watched 
over  the  infant  Bacchus,  leaning  against  a  tree  and  holding  his 
young  charge  in  both  arms.  There  is  a  strong  affection  between 
the  two,  as  the  grim  smile  in  the  older  face  and  the  merry,  hearty 
laugh  of  the  younger  would  seem  to  indicate. 

Slave,  by  Michel  Angelo.  This  dying  slave  is  one  of  the 
finest  statues  of  the  great  master,  and  is  found  in  the  Louvre  at 
Paris.  The  figure  shows  a  noble  treatment  of  the  human  form 
that  scarcely  found  its  equal  since  the  antique.  The  head  shows 
an  expression  of  pain,  that  indicates  deep-seated  suflferings  of 
the  soul. 

Socrates,  the  celebrated  Athenian  philosopher," was  born 
in  Athens,  B.  C.  469.  In  youth  he  was  a  sculptor.  Being  pos- 
sessed of  a  good  constitution,  he  was  able  to  bear  extraordinary 
fatigue  and  hardship.  His  ugly  physiognomy  excited  the  jests 
both  of  his  friends  and  enemies.  He  early  displayed  great  moral 
courage.  The  middle  and  latter  part  of  his  life  was  devoted  to 
the  self  imposed  task  of  teaching  to  the  exclusion  of  all  other 
business,  public  or  private,  and  to  the  neglect  of  all  means  of 


Ixviii 


a  HENNEGKE  CO.,  MILWAUKEE  AND  CHICAGO. 


fortune.  Attached  to  tione  of  the  prevailing  parties,  he  found 
in  eacli  of  them  liis  friends  and  his  enemies.  His  enemies  suc- 
ceeded in  liaving  liim  impeaclied  and  tried,  charging  him  with 
corrupting  the  youth,  and  despising  the  tutelary  deities  of  the 
state,  putting  in  their  place  other  new  divinities.  He  was  con- 
demned to  drink  the  cup  of  hemlock,  and  died  in  his  seventieth 
year,  B.  C.  H99. 

Sophocles,  a  Greek  tragic  poet,  born  in  496  or  495  B.  C,  died 
probably  in  406.  In  468  he  first  came  forward  as  a  competitor 
in  a  dramatic  contest,  having  yEschylus  for  his  rival ;  and  the 
first  prize,  whicli  for  a  whole  generation  had  belonged  to 
jEschylus,  was  now  awarded  to  his  youthful  rival.  From  this 
time  to  441  he  wrote  thirty-one  plays.  His  "  Antigone  "  gained 
the  prize  in  440.  During  the  succeeding  thirty-four  years  he 
wrote  eighty-one  dramas.  Sophocles  is  placed  by  the  universal 
consent  of  ancient  and  modern  critics  at  the  head  of  the  Greek 
drama. 

Spartacus  was  leader  in  the  insurrection  of  the  Roman 
slaves,  73  B.  C. 

Sphinx,  a  fal)ulous  monster  of  Greek  mythology,  which  was 
represented  as  having  the  winged  body  of  a  lion  and  tlie  breast 
of  a  woman,  but  sometimes  with  a  female  face,  the  breast,  feet 
and  claws  of  a  lion,  the  tail  of  a  serpent,  and  the  wings  of  a  bird; 
sometimes  the  fore  part  of  the  body  is  that  of  a  lion,  and  the 
lower  part  that  of  a  man,  with  the  claws  of  a  vulture  and  the 
wings  of  an  eagle.  Among  the  Egyptians,  the  Sphinx  had  the 
head  of  a  man,  bearded  and  capped,  and  the  body  of  a  lion. 
Clemens  and  Plutarch  say  they  were  placed  before  the  temples 
as  types  of  the  mysterious  nature  of  the  deity. 

Spinoza,  Baruch,  Dutch  philosopher  ;  born  1632,  died  1677. 
Educated  for  the  rabbinical  profession  lie  gained  the  admiration 
of  all  his  teachers.  But  being  suspected  of  verging  toward  heresy 
he  was  excluded  from  the  synagogue.  He  made  himself  familiar 
with  all  the  modern  Continental  languages,  and  by  the  study  of 
Latin,  gained  access  to  the  classic  writings  and  to  the  great  phil- 
osophers. He  lived  in  poverty,  carrying  on  his  philosophical 
studies  and  writings  till  his  death,  when  his  principal  works 
were  published. 

Sumner,  Charles,  an  American  statesman;  born  in  1811, and 
die<l  in  1874.  Sumner  graduated  at  Harvard  College  in  1830. 
He  devoted  himself  enthusiastically  to  the  study  of  law,  and  his 
favorite  topics  were  those  relating  to  constitutional  law  and  the 
law  of  nations.  He  visited  Europe  in  1837  and  spent  three  years 
in  travel.  He  was  received  with  unusual  distinction  in  the  high- 
est circles.  Sumner  opposed  the  war  with  Mexico,  and  earnestly 
engaged  in  the  opposition  to  tlie  annexation  of  Texas.  In  1851 
he  was  elected  to  the  Senate,  and  continued  a  member  until  his 
death.  He  served  on  important  committees  throughout  his 
whole  course.  He  was  opposed  to  slavery  because  of  its  evil  in- 
fluence on  diaracter,  society,  and  civilization,  and  his  great  zeal 
incensed  members  from  the  Southern  states.  His  speeches  and 
addresses  have  been  collected  and  published,  and  form  many 
volumes. 

Supplicant  Youth,  or  The  Praying  Boy,  probably  by  Boedas, 
the  son  of  Lysippos.  Original  was  found  in  the  Tiber  and  is  now 
in  the  Museum  at  Berlin. 

TasBO,  Torquato,  a  great  Italian  poet  ;  born  1544,  died  in 
Rome,  1595.  His  grave  and  melancholy  beauty,  eloquence,  and 
varied  accomplishments,  endeared  him  to  Eleanora,  the  duke's 
sister,  who  became  known  as  the  special  object  of  his  adoration. 
His  celebrated  pastoral  drama,  Aminita,  was  performed  with 
great  splendor  at  the  court.    By  his  enemies  he  was  regarded  as 


a  maniac  and  was  committed  to  a  hospital,  where  he  was  sur- 
rounded by  maniacs  of  the  worst  description.  While  fortunes 
were  made  by  the  sale  of  his  epic,  "  Gerusaleme,"  Tasso  lingered 
in  prison.  After  his  release  he  was  obliged  to  live  in  a  charitable 
asylum  at  Rome,  but  was  rescued  liy  the  Grand  Duke  of  Tuscany. 

Tennyson,  Alfred,  English  poet  laureate;  born  1809.  His 
verse  is  considered  the  most  faultless  in  our  language.  The 
pleasure  which  his  poetry  gives  springs  largely  from  the  lively 
interest  which  he  displays  in  the  life  and  pursuits  of  men,  in 
beautiful  aspirations  and  purity  and  strength  of  spiritual  feeling. 
He  wrote  Maud,  Idylls  of  tlie  King,  Enoch  Arden,  The  Holy  Grail, 
The  Tournament,  and  many  other  poems. 

Terpsichore.  Terpsichore  was  one  of  the  nine  muses.  She 
was  the  muse  of  dancing,  represented  with  a  lyre  and  plectrum. 
The  muses  were  created  by  Zeus  to  perpetuate  in  song  the 
mighty  deeds  of  the  gods.  They  sing  of  the  present,  the  past, 
and  the  future,  while  Apollo's  lute  accompanies  their  sweet 
strains,  which  gladden  the  heart  of  Father  Zeus,  in  Olympus. 

Thackeray,  Wm.  Makepeace,  novelist  and  satirist,  was  born 
in  Calcutta,  1811.  When  he  was  seven  years  old  he  was  sent  to 
school  in  England.  His  ambition  was  to  be  an  artist,  and  he 
travelled  over  most  of  Europe,  studying  at  Paris  and  at  Rome. 
He  next  took  to  literature  and  wrote  for  magazines.  His  prin- 
cipal novels  are  Vanity  Fair,  Pendennis,  etc.     He  died  December 

24,  isas. 

Theseus,  British  Museum.  This  figure,  taken  from  the 
eastern  pediment  of  the  Parthenon,  shows  the  reputed  founder 
of  Athens,  half  reclining  upon  a  rock,  covered  with  a  lion's  skin 
and  drapery.  The  statue,  though  mutilated,  is  one  of  the  most 
valua))ie  relics  of  Greek  art. 

Thorn  Extractor  (Spinario).  Boy  extracting  a  thorn  from 
his  foot.  Original  in  bronze,  Capitol,  Rome.  Said  to  have  been 
found  in  the  Tiber.  An  example  of  the  best  period  of  Greek 
art.  This  statue  is  distinguished  by  a  touching  simplicity  and 
purity  of  style  worthy  of  the  best  periods  of  art.  The  attitude 
is  easy,  natural  and  graceful.  The  form  of  the  body  is  extreme- 
ly beautiful,  and  the  complete  absorption  of  mind  expressed  in 
the  face  is  rendered  with  singular  truth  and  skill.  It  has  been 
attributed  to  Pasiteles. 

The  Three  Graces.  The  daughters  of  Jupiter,  and  god- 
desses of  grace,  favor  and  gentleness,  the  sources  of  all  grace 
and  beauty.  Their  names  are  Aglaia,  Thalia  and  Euphrosyne. 
The  group  No.  3799  is  by  Canova  at  Florence. 

Twilight,  by  Angelo.  Original  over  the  tomb  of  Lorenzo 
de  Medici,  in  the  Church  of  St.  Lorenzo,  at  Florence. 

Venus  Acropolis.  Bust  after  the  Aphrodite  of  the  Garden 
just  outside  of  Athens.  The  best  copy  of  this  Greek  Aphrodite 
is  found  in  the  Berlin  Museum  made  of  Parian  marble.  There 
is  a  replica  in  the  Louvre.  The  Venus  de  Milo  was  probably 
fashioned  after  this  ancient  Greek  goddess. 

Venus  of  Aries,  so  named  because  found  in  Aries,  a  town  of 
France,  in  1651.     It  is  now  in  the  National  Museum  of  Paris. 

Venus,  coming  from  bath,  by  Allegrain.  Christophe  Gabriel 
AUegrain,  was  a  modern  French  sculptor;  born  1711,  died  1795. 

Venus,  going  to  bath,  by  Falconet.  Falconet  was  an  eminent 
sculptor  in  Paris.  His  most  important  works  in  Paris  were  exe- 
cuted for  the  church  of  S.  Roch  and  that  of  the  Invalides. 

Venus,  by  Canova,  marble  in  Florence ;  The  great  sculptor 
has  taken  the  great  Venus  de  Medici  for  his  model,  and  by  the 
addition  of  drapery  created  a  pure  and  beautiful  statue. . 

Venus  of  the  Capitol,  is  a  marble  in  the  Capitoline  Museum, 
Rome. 


BIOGRAPHICAL  AND  MYTHOLOGICAL  NOTES. 


Ixix 


Venus  of  Capua,  so-called  because  found  among  the  ruins 
of  the  Amphitheatre. 

Venus  of  Cni<lus,  l)y  Praxiteles,  was  the  most  important 
work  of  that  master;  and  the  people  of  Cnidus  were  so  proud  of 
it  that  they  engraved  her  iimtge  on  their  coins. 

Venus,  Crouching,  Vatican,  Rome.  Found  1775  near  Tivoli. 
Supposed  to  be  by  Dredahis.  It  is  mentioned  by  Pliny  as  stand- 
ing in  the  porch  of  Octavia  in  the  temple  of  Jupiter  at  Rome. 

Venus  de  Hedici,  marble  in  Florence.  This  statue  is  a 
copy  of  the  original  which  stands  in  the  tribunal  of  the  Uffizi, 
Florence.  It  was  discovered  in  the  fifteenth  century  and 
brought  to  Rome  during  the  reign  of  Cosimo  de  Medicis.  It 
was  executed  by  Cleomenes  of  Athens,  though  probably  chis- 
eled in  Rome.  The  goddess  of  love  is  probably  the  personifi- 
cation of  the  creative  and  generative  forces  of  nature. 

Venus  de  Kilo,  Louvre,  Paris,  This  statue  is  justly  re- 
garded as  the  i)ure8t  and  noblest  of  all  the  existing  marble 
statues  representing  the  goddess  of  love.  It  was  found  in  1820, 
on  the  island  of  Melos,  and  is  now  in  the  Louvre  at  Paris.  It  is 
supposed  to  represent  the  Aphrodite  Urania,  or  the  heavenly 
Venus,  to  distinguish  it  from  the  vulgar  goddess  of  the  same> 
name.  As  the  statue  was  in  a  mutilated  condition  when  found, 
various  attempts  have  been  made  to  restore  it  so  as  to  express  the 
motive  of  the  statue,  but  none  have  received  general  acceptance 
and  it  is  still  a  riddle  which  defies  the  ingenuity  of  those  who 
attempt  to  solve  it. 

Venus  Oenitrix,  of  the  Villa  Borghese,  at  Rome,  now  in 
the  Louvre.  A  wonderfully  graceful  figure  of  the  late  Roman 
period. 

Venus  Kallipygos,  marble  in  the  Xaples  Museum,  so-called 
from  the  fcrreek  definition  of  its  peculiar  character.  It  was  once 
in  the  Farnese  Palace,  Rome.  The  back  of  the  figure  is  particu- 
larly admired. 

Venus  in  Shell.  This  Venus  is  probably  the  Aphrodite 
Pontia  (of  the  sea),  the  tutelary  deity  of  the  ships  and  mariners, 
who  controlled  the  wind  and  the  waves,  and  granted  to  ships  a 
fair  and  prosperous  passage.  Aphrodite  was  born  of  the  foam 
of  the  sea,  and  first  touched  land  on  the  island  of  Cyprus,  which 
was  henceforth  held  sacred  to  her. 

Venus  Vicfcrix,  by  Thorwaldsen.  In  this  beautiful  statue  the 
sculptor  has  embodied  grace,  symmetry  and  purity  of  style. 
The  wonderful  conception  of  Thorwaldsen  was  full  of  classic 
beauty,  so  that  he  has  sometimes  been  called  "  the  posthumous 
Greek." 

Verdi,  Giuseppe,  Italian  musical  composer ;  born  1814. 
Verdi  commenced  the  study  of  operatic  music  at  the  age  of  19, 
and  his  first  efforts  at  composition  of  operas  was  a  failure.  In 
1842,  however,  his  Nahuceo  established  his  fame.  In  this  work 
he  developed  those  characteristics  of  brilliant  melody  and  vivid 
musico-dramatic  effects  which  have  maintained  his  public  popu- 
larity to  the  present  time.  His  other  most  popular  operas  are 
Ernani,  Macbeth,  RigoUtto,  Don  Carlos,  Aida  and  H  Trovatore. 

Verus,  Lucius,  was  the  unworthy  Son-in-law  of  the  "  good 
Aurelius,"  and  was  Emperor  from  Ifil  to  169  A.  D.  He  is  repre- 
sented as  having  been  exceedingly  wasteful  and  profligate. 
Soon  after  his  accession,  Marcus  Aurelius  dispatched  him  to  the 
East,  and  for  four  years  carried  on  war  with  great  success  against 
the  King  of  Parthia.  He  subsequently  prosecuted  the  war  with 
the  Barbarians  living  along  the  northern  limits  of  the  empire, 
from  the  sources  of  the  Danube  to  the  lUyrian  border. 

Victory,  by  Riiuch.  This  is  a  copy  of  the  statue  of  Victory 
at  Berlin,  Germany,  which  commemorates  the  victory  of  1871, 


and  the  union  of  Germany.  Christian  Ranch,  an  eminent  sculp- 
tor, was  born  at  Waldeck,  1777,  and  died  18.")7.  He  executed  six 
marble  "  Victories  "  for  the  Walhalla,  and  many  marble  busts 
of  great  excellence.  His  statues  are  some  of  the  finest  produc- 
tions of  modern  sculpture  and  of  classic  beauty. 

Vitellius  was  an  emperor  of  Rome.  He  was  born  A.  D.  15. 
He  was  a  glutton,  and  an  epicure;  his  chief  amusement  was 
gambling.  Galba  gave  Vitellius  command  of  the  legions  in 
Lower  Germany,  and  the  soldiers  proclaimed  him  emperor  in 
A.  D.  69.     Vitellius  was  assassinated  after  a  reign  of  a  year. 

Voltaire — Francis  Marie  Arouet  (his  true  name),  one  of  the 
most  famous  of  French  writers;  born  1694,  and  died  1778.  His 
father  desired  him  to  study  law,  but  he  chose  the  career  of  a 
man  of  letters.  He  was  sent  to  the  Bastile  for  writing  satirical 
verses  reflecting  on  the  government  of  Louis  XIV.  After  his 
release  he  assumed  the  name  of  Voltaire.  He  was  a  shrewd 
financier,  accumulating  quite  a  fortune ;  his  books  were  never 
a  source  of  great  profit  to  him,  despite  their  immense  popularity. 
The  sum  of  his  literary  labors  remains  in  something  like  ninety 
volumes.  He  was  truly  a  universal  genius;  he  wrote  literally 
everything— histories,  dramas,  poems,  disquisitions,  literary, 
philosophical  and  scientific  novels.  His  favorite  weapon  was 
ridicule.     His  prose  is  the  perfection  of  French  style. 

Wagner,  Richard,  German  musical  composer;  born  1813 
died  1883.  Wagner  received  his  first  systematic  instruction 
wliile  studying  at  the  Univepsity  of  Leipzig.  From  1836  to  1842 
he  wrote  music  in  his  own  peculiar  style,  but  was  not  appreci- 
ated, and  it  was,  therefore,  a  struggle  with  poverty.  From  that 
time  forward  his  ideas  gradually  gained  ground,  and  by  the  aid 
and  assistance  of  Liszt  and  other  great  musicians  and  influential 
personages,  was  able  to  carry  out  his  grand  idea  of  opening  a 
theater  at  Baireuth,  Bavaria,  where  his  great  operas  could  be 
properly  brought  out.  His  undertaking  was  crowned  with  suc- 
cess. His  great  works  a,re  Faustt,  Rienzi,  Tannhaeuser,  Lohengrin, 
and  the  series  of  operas  founded  on  the  Niehelungenlied. 

Washington,  George,  the  Father  of  his  Country,  and  first 
President  of  the  United  States;  born  1732,  died  1799.  Early  en- 
gaged in  important  commissions  in  the  French  and  Indian  AVar, 
he  was  later  made  commander-in-chief  of  the  American  forces 
during  the  Revolutionary  War.  The  war  was  conducted  by 
Washington  under  every  possible  disadvantage;  he  met  with  fre- 
quent reverses,  but  rose  superior  to  such  formidable  obstacles, 
and  was  able,  with  unexhausted  patience  and  matchless  skill, 
to  bring  the  contest  eventually  to  an  auspicious  and  honorable 
close.    He  was  President  from  1789  to  1797. 

Weber,  Karl  Maria  von,  German  musical  composer;  born 
1786,  died  1826.  Weber's  mind  was  sensitive  and  poetic,  and 
hence  his  treatment  of  subjects  in  which  the  fanciful,  legendary 
and  supernatural  elements  predominate.  His  greatest  works 
are  Der  FreiKchi'itz  and   Oheron. 

Webster,  Daniel,  American  statesman  and  orator ;  born  1782, 
died  1852.  Graduating  at  Dartmouth  in  1801,  he  commenced  the 
study  of  law.  Removing  from  Boston  to  Portsmouth  he  engaged 
in  politics  and  was  elected  as  a  member  of  the  Federalist  party 
to  Congress,  where  he  immediately  took  rank  among  the  fore- 
most men  of  the  country.  Returning  to  Boston  he  again  prac- 
ticed law.  He  was  elected  to  Congress  as  Representative  in  1822, 
and  as  Senator  in  1826.  In  1859  he  was  Secretary  of  State  in  the 
Cabinet  of  General  Harrison,  and  again  in  18.50  under  Fillmore. 
He  aspired  to  the  Presidency  at  different  times  but  never 
received  the  nomination.  His  senatorial  efforts  were  directed 
to  the  preservation  of  the  Union. 


Ixx 


G.  BENNECKE  CO.,  MILWAUKEE  AND  CHICAGO. 


William,  Frederick,  emperor  of  Germany,  was  born  1831. 
His  earnest  character  and  his  talents  were  early  developed 
under  the  care  of  excellent  teachers.  He  was  married  to  the 
daughter  of  Queen  Victoria  in  1858.  He  had  three  sons  and 
four  daugliters.     He  died  after  a  reign  of  less  than  a  year  in  1888. 

William  II.,  present  emperor  of  Germany  was  born  in  1859. 

William  I.,  king  of  Prussia  and  in  1871  emperor  of  Ger- 
many, was  born  1797.  He  joined  the  army  at  an  early  age  and 
was  engaged  in  the  campaigns  of  1813  against  France.  On  the 
accession  of  his  elder  brother  to  the  throne  William  became 


governor  of  Pomerania.  In  1861  he  ascended  the  throne  and 
became  the  head  of  the  North  German  Confederation  in  1867. 
He  died  in  1888. 

Wrestlers.  In  the  Uflfizi,  Florence.  It  is  ascribed  to  the 
artists  of  Rliodes,  and  is  one  of  the  great  productions  co-eval  witli 
the  Laocoon  and  tlie  Farnese  Bull. 

Zacharias,  a  Roman  Pontiff,  successor  of  Gregory  III,  in 
741.  He  is  noticeable  as  one  of  the  series  of  Greelc  prelates  by 
whom  the  destinies  of  Rome  and  Italy  were  much  influenced  in 
tlie  7th  and  8th  centuries.    He  died  at  Rome,  752. 


1^:312  ij)^  SlS'liJtf  ©2  mii^0^z 


If  our  patrons  are  moved  to  "read  up"  about  Sculpture— investigate  the  historic  development,  as  well  as 
the  artistic  meaning  of  this  great  Greek  art,  they  cannot  do  better  than  to  follow  the  leading  of  a  little  book 
entitled, 

"ART  TOPICS  IN  THE  HISTORY  OF  SCULPTURE," 

BY    PROF.    C.    S.    FARRAK. 

The  work  consists  of  a  series  of  topics,  carefully  arranged  to  show  the  development  of  this  great  art  from 
Egypt  up  to  Athens,  and  from  Athens  down  to  Rome.  Under  each  topic  are  specific  references  to  the  most 
valuable  works  on  the  subject,  especially  in  the  English  language.  Art  criticism  is  yet  in  the  nascent  state,  and 
the  ablest  authors  are  so  diverse  in  their  interpretations  that  the  student  is  almost  compelled  to  judge  between 
them,  and  so  have  a  mind  of  his  own.  On  this  very  account  the  subject  has  a  fascination  not  afforded  by  any 
ripe  philosophy  or  established  science.  Prof  Farrar's  book  puts  the  greatest  critics  into  a  jury  panel  before  the 
reader  on  each  point  by  itself.     Price  50  cts.  .postpaid. 


GLASSICAL  SIAfUARY  BUSfS  ^ii^MQDELS^ 


TETRAHEDRON. 


TRIANGULAR  PRISM. 


SQXTARE  PYRAMID. 


CUBE. 


No.  3000— 5i  iu 30  cts. 

"    3001— 3i  in  20  cts. 


OBLiaXJE  PENTAGONAL 
PYRAMID. 


j'l    I    II 


ri 


1,1  I 


I 


1   |i| 


I  r 


Ijll 


m  1 1 


iili 


No.  3002—7  X  7  in 60e. 

"    3003— 4  in 40c. 


No.3004-10in 60c        No.  3006— 10  in 60c. 

"    3005— 6ix3iin 40c.         "    3007— 7x4in 40c. 


TRIANGULAR  PYRAMID 


PENTAGONAL  PYRAMID 


HEXAGONAL  PYRAMID. 


li w 


NO.300&— 12in    75c.       No.  3010— 10  in 60c. 

"    3009— 8x4iin 40c.  "    3011— 7i  x  4  in 40c. 


No.  3012— lOin 6«c.       No.  3014— 10 in 60c. 

"    3013— 7x3i 40c.         "    3015— 7f  x  3*  40c. 


OONE. 


HEXAGONAL  PRISM. 


CYLINDER. 


CUBE, 

With  Depression  for  Sphere. 


No.  3016—10  in  , 


00c.   No.  3018— n  in 60c.   No.  3020— 10  x  5i  in 60c.   No.  3022-7  x  7  in   60c 

30c. 


"    3017— 6ix4iin 40c.  "    3019-8x4in 40c.  "    3021— 4x4in.. 30c.  "    3033-4  in 

Many  different  designs  can  be  made  with  these  Solids  by  combinations 


c/iEnriEeKE  e9  Milwaukee «i?  enie/^G^ 


OCTAHEDRON 


DIVIDED  SPHERE. 


SPHERE. 
With  Hook  to  Suspend, 


No.  3024—8  in 60c.   No.  3026—7  in. 

"  3025— 5*  in 30c.    "  3027— 4  in. 


.60c. 
.30c. 


No.  3028-5  in. 


60c. 


ICOSAHEDRON. 


No.  3029— 7i  in 60c. 

"    3030—6    in 40c. 


DIVIDED  HOIiliOW 
CYLINDER. 


SPOOL. 


DOUBLE  FRUSTUM. 


Ill       III 

l!IJi 

No.  3031—8  X  ,")  ill 60c. 

WHEEL. 


CROSS. 


■No.  3032—8  X  6  in 


.60c.        No.  .3033— !».\5  in. 


.60c.        No.  3034—8  in 60c. 


SCREW. 


No.  3088— 6f  X  5i  in   . .  .60c. 


No.  3039—5  in  60c.  No.  3040-10  x  6i  in  .  ,  .75c.  No.  3041—8  x  8  in 80c. 


GLASSICAL  SlAfUARY.  BUSfS  4i'>nQDELS^. 


No.  b04B— 9i  X  3i  in 5Uc. 


Please  do  not  cut  this  book 
in  maliing  orders.  No  errors 
will  occur  if  you  state  the 
number  of  articles  wanted. 


M 


IPi  III  liimil  Pia  i  III  Anili|ll»ilLia:;ilJ:i:!|i!T!;ia!:!Bailiil!!l'!!'ll!:!i;iiiill!!!lllliill!lllllil!l!ll!llll! 


No.  3042—8  X  6i  ill. . .  60e. 


No.  3044— 8  x6i  in... 40c. 


No.  3045— 8  X  (H  in.... 40c. 


No.  3046     S.\  (ii  ill iUf. 


No.  3047— 8i  X  6i  in. . .  .40c. 


No.  3048— 8x6iin 50c. 


No.  3049—8  X  6i  in 60c. 


No.  3050—8  X  6i  in. . .  .70c. 


cnennECKE  go  Milwaukee 44?  enie/Y^o. 


1/ 


No.  3051— 7i  X  5  in per  pair,  750. 


No  3052— 7i  X  5  in 


,irilli:il!||i::i[li:!llii|l':l!llli:'lllllllllillllll|ll!::|iliilll 

,  .per  pair,  75c. 


[Illllll 

fill 

j||  pi 

ill .(   Ill;:  l!l:i^ 
r 

/  ^ 

i'!d  h   1 

ll 

1  \^ 

i:      \ 

k 

1 

f. 

No.  3053— 7i  x5in per  pair,  75c. 


No.  30.54— 7i  x  5  in  per  pair,  75c. 


1  III  III  Illllll 

No  3055— 7i  x  5  in per  pair,  75c. 


No.  3056— 7i  x  5  in   per  pair,  75c. 


The  designs  on  this  page  consist  of  relievos  and  moulds;  the  moulds  showing  the  exact  reverse  of  the  relievos, 

the  two  forming  a  pair. 


GLASSICAL  SIATUARY.  BUSt5>  ^^lAQD^lSr^ 


Iflfjipilfll^ 


No.  3057—9  X  9  in  . .  .7oc.  No.  3058—9  x  9  in  . .  .80c. 


No.  3059— 9x9in  ..  80c. 


No.  3060— 9  X  9  in 80c. 


riiflf'iB>;'rf-'ii''i'-iii!,iii!iii,ii 


III 


llllllllllllllillilllUlillilirJIalllllii'llliNJIHWU 


No.  3061— 7i  X  5  in. . .  .50c.      No.  3063—9  x  9  in. . .  .80c. 


No.  3063-9i  X  9i  in  . .  .80c.      No.  3064—11  x  6  in. . .  .70c. 


rwppr^iffifPjM 


I     .III I  II 


No.  3065—9x9  in.... 80c. 


No.  3CU(i— 7i  X  5  in 50c.  No.  3067— 7i  x  5  in 50c. 


No.  3068— 8x8in....50c. 


No.  3069— 5  X  7i  in per  pair,  75c.  No.  3070— 7i  x  5  in. . .  50c.  No.  3071— 7i  x  5  in per  pair,  T5c- 


cnnnnEGKE  e9  Milwaukee ^i?  eniG/^o^ 


No.  3078-8i  X  8i  in. . .  .60c. 


No.  3079-9x9  in....  75c. 


No.  3080-9ix7iin....75c. 


No.  3081— 9i  X  7i  in.... 75c. 


No.  3083-8}  X  7  in.... 60c. 


:(TT>TIVERSITY) 


k 


GLASSICAL  SlAfUARY.  BUSfS  ^^nSDELSj^rpoB.;^ 


No.  3083-9i  X  7i 60o. 


No.  3084— 9i  x  7i  in 60c. 


No.  3085— 9i  X  7i  in 60c. 


No.  SOS*?— 9i  X  7i  in 60c 


No  3087— Ui  x7iin 80c. 


No.  3088— 12  x8i  in  fil.OO 


No.  3089-13  X  8  in 


.80c. 


No.  3090— OJ  X  7}  in 80c. 


No.  !fe91-  la  X  Si  iu 75c 


cnnnnEGKE  e9  Milwaukee a^p  eniGrt^o^ 


No.  3092-9i  X  7i  in 90c. 


No.  3093— 9i  X  9i  in  |1.00 


No  3094— 9i  X  7i  in  . .  .90c 


No.  3095-9x9  in 90c 


No.  8096—9  X  9  in Too. 


No.  8097— 9x9in 75r. 


No.8098— 9x9in 75c. 


No.  3099-15i  x  17  in   |3.50 


No.  3100—9  .\  "J  in DUc. 


GLASSICAL  SlAfUARY.  BOSfS  ^ij'MQDELS^ 


'V 


Illy       "'^  '  '•' 


No.  3101—9x9  in  ...80c. 


No.  3102-8  X  8  in  . .  .60c.  No.  3103-5i  x  9  in. . .  .60c.  No.  3104—7  x  7  in  . .  .40c. 


No.  3l05-9ix8in....60c.  No.  3106— 9  x  9  in. ..  .75c.  No.  3107— 9  x  8  in. ..  .60c.  No.  3108— 9  x  8  in. ..  .60c. 


No.  3109— 11  X  8  in .50c.      No.  3110— 10}  x  7i  in. . .  .60c.  No  3111— lOJx  9  in. ..  .75c. 


No.  8112— lOi  X  7ilin  . .  .60c. 


p ^ 

^■■H 
iiiiiiiii|iii" 

r  1 

1  } 

^ 

'fjF\MU 

^^ 

r 

,„  \J 

\^ 

\          L 

'f               \ 

No.  3113— 10  x7i  in.  ...60c.  No.  3114— 10  x  7  in. ..  .50c.  No.  3115— 7i  x  6i  in. . .  .50c.  No.  3116 -8  x  12  in. ..  .75c. 


10 


G.HEnnEeKE  e9  /AiLWAUKEE''ij  eniG/^o^ 


Bead  preface  before  ordering'. 


All  Plaques  have  Hooks  to  suspend. 


No.  3117— 17i  X  lOi  in  . .  .$1.25 


No.  3118-9  X  lliin  ..  90c. 


No.  8119— Six  13  in.... 11.00 


Mo.  3133— 13  x8i  in..., 90c. 


No.  3134— 17i  X  19  in. . .  .|3.50 


No.  3135-15ix  lOiin  . .  |1.35 


CLASSICAL  SlAfUARY,  BCSfS  ^iPMQDELSig 


11 


llllll|llllllilillilllllilll[|llilll'll|i|lllllllllllllllllllllillllll!llilllllilJIIM^ 


No.  8136—13  X  8*  in. . .  .75c. 


No.  yi88-8i  X  lOi  in. . .  .90o. 


Size  of  Plii(|ue,  7  x  .">;  in 

No  3137— Pear price,  50c 

'•  S138-Orang-e  

"  3129—     "        

"  8130— Lemon  

"  3181— Citron 

"  3182-Qulnce 

■'  8133— Pomegranate 

"  3134— Apple 

"  3135— Potato 

"  3186— Cocoanut 


50c. 
50c. 
50e. 
50c. 
50c. 
50c. 
50c. 
50c. 
50c 


No:  3139—18  x8in...  90c. 


y 


No.  3137— 12  X  8i  in  ...75c. 


No.  3140— 8xl2iin....fl.30 


No.  3141— 12  x8i  in.... 80c. 


No.  3142-lOi  X  7i  in. . .  .90c. 


No.  8143—12  x8i  in. . .  .|1.00 


12 


CnEnnECKE  G9  WILWAUKEE'-iP  CniG/^Gi^ 


.•^IlllllllilllflSillllldV 


No.  3144—13  X  9i  in. . .  .f  1.00 


No.  3145-lli  X  9i  in. . .  .$1.00 


No.  3146—9  X  6  in  . .  .fiOc. 


No.  3147—10  X  8  in....7oc. 


No.  3148—14  x|14  in. . .  .|1.50 


No.  3149— 14  X  14  in. . .  .|1..')0 


No.  3150— 8i  X  7  in. . .  .60c. 


No.  3151— y  X  IHin.    ..90c. 


No.  315^— 16i  X  11  in fl.35 


GLASSICAL  SIATUARY.  BUSfS  ^A^AQDELS^ 


13 


No.  3153— Di  X  7i  in 60c. 


No.  3156—9  X  17i  in. . .  .f  1.30 


^-    h\$\ 


Read  preface  before  ordering. 
All  Plaques  have  Hooks  to  suspend. 


No.  3154—10  X  la  in ^i:4o 


No.  3157—32  X  23  in . . .  |3.00 


No.  3155—74  X  15i  in. . .  .$1.25 


No.  3158-  Si  X  -Mi  in |1.30 


No.  3159— 8x19  in.  ...#1.30 


No.  3160— 14i  X  19i  in. . .  .f8.85 


No.  3161— 5ix  13  in.... $1.35 


14 


cnEnnECKE  eo  Milwaukee 'i?  cmerCQQ.^ 


No.  3163— 17i  X  lOi  in. . .  .|1.35 


No  3166-5ix4iin  ..  40c 


No.  3163-5  X  3i  in.  .3.5e.      No.  3164—5  x  4i  in.  .35c. 


No.  3167—13  X  18  in. . .  .|1.75 


iiiiii^^ 


No.  3105— 15  X  10  in ^l.:i5 


No.  3168 -71x5  in.... 60c. 


No.  3169—33  X  13  in. . .  .f3.50 


No.  3170— 15ix21...   83.75 


No  3171-33  X  13  in. . .  .*3.50 


GLASSICAL  SIaUJARY.  BUSfS  Ai^^AQDELSig 


15 


Read  the  preface  before  ordering 


All  Plaques  have  hooks  to  suspend. 


No.  3175— 14  X  16  in  ...$1.75 


No.  3176—10  X  23  in. . .  .li.'.u 


No.  3178-y  X  24  in. . .  .*3.3.5 


aiini.yiiiiiiiiiii I  liiii  ijii  liiiiiiiiaiaii^ 


No.  3177— 18x20 in.... 13.00 


16 


cnenriEeKE  e9  Milwaukee "i?  eniGrt^G^ 


No.  3179— 8i  X  13  in. . .  .90c. 


No.  3180— 9i  X  13  in. . .  .fl.OO 


No.  3181—17  X  11  in. . .  .|1.25 


No.  3182-9  X  Hi  in... $1.00 


No.  3183—9  X  Hi  in. . .  .$1.00 


No.  3184— Six  11  in  ...$1.00 


No.  8185— 17i  X  12  in  . .  .$1.25 


No.  3186-14  X  10  in.... $1.00 


No.  3187— 18i  X  10  in. . .  .$1.85 


GLASSICAL  SlAfUARY.  BUSfb  Ai.^MQDELSjg  17 


Bead  preface  before  ordering. 


'I'l  iiii'iii'"i  I ''i^^,i";i'|i'y" 

' '       ii'i'ii 

.ImI'I, 

1'     iiiM  III 


No.  3188—14  X  10  in. . .  .H1.35 


JNo.  aisy— 14i  X  10  in $1.00 

lllTllllllllllllllll     lllIN 


No.  3190— 17i  X  11  in  . .  11.35 


|'''iri«iiii!iiiii 

iiiiii,iiiiiiiifiiiiiiiiiiiiiifiiirii'iii™iiiifiiii||i 

i 

^^. 

m 

^1/ 

J 

g;  ;v7 

iBIi-  — 

^^--MiAi^ 

P^'^ 

^M, 

^K-^lllliliwIIII  1 

1 

^fc^s 

H^—^ '  ^ 

i 

^1^^ 

IL, 

HIiV^     1 

No  3193— Hi  X  9  in  ...$1.00 


I§IJII^^ 


No.  3194— 17ix  11  in....  11.50  No.  3190-10  x  8  in. ..  .75c.  No.  3196— lOi  x  7  in  ...7oo.  No.  3197— 17^  x  11  in     .$1.25 


18 


c./iEnriEeKE  cp  Milwaukee «l»  eniG/^o. 


'# 


All  Plaques  have  Hooks 
to  suspend. 


No.3304— 17ixllin  ...|1.25 


No.  3205—37  x  15  in  . .  |3.00 


No.  3206— 17i  X  11  in. . .  »1.25 


GLASSICAL  SlAfUARY.  BCSfS  ^ii>MQDELS,^ 


19 


No.  3313— 15 X  13 m  ...|1.50 


No.  3314— 35x13  ill,..  $2.75 


Nu.  3:215— loi  X  13  . .  .fl.50 


20 


cnennEeKE  C9  Milwaukee aI"  enie/^o^ 


No.  3221—16  X  lOi  in. . .  .|J.25 


No.  3232— 21i  X  18  in f2.25 


No.  3323—10  X  lOJ  in. . .  .|1.25 


GLASSICAL  SlAfUARY.  BUSfS  ^iPMQDELS^ 


21 


No.  3234-31ixl3  in |3.35 


No,  3235—22x13  in |2.50 


No.  3326— ITxlOi  in $1.25 


All  Plaques  have  hooks  to  suspend. 


No.  3237-17xl0i  in 81.50 


No.  3328— 23x13^  in »3.25 


No.  3339—33x13  in  f3.25 


22 


G.nnnnKKE  e9  Milwaukee aId  eniG/^G^ 


No.  3330—14  in |3.25 


No.  3231— 20i  X  15  in $2  75 


No.  3232-14  in |2.25 


No.  3233-14  in |2.25 


No.  3234—15  X  lOi  in $1.25 


mmmJMm 
No.  3230—14  in $2.35 


No.  3285—12  in $2.00 


No.  3237— 15i  xll $2.00 


No.  3238— 12  in $3.25 


CLASSICAL  SlAfUARY.  BUSiS  ^iPAQDELSia 


23 


No.  3239— 29  X  15  in 13-50. 


Bead  tlie  Preface  before  Ordering. 


No.  3240-17  X  16  in. . .  .$2.50 


No.  8241  -81x8iin....$1.00 


No.  8242— 8i  X  8i  in  . .  .fl.OO 


No.  3243— 8i  X  Si  in  ...  fl.OO 


No.  3344—25  x  18  in. . .  f  2.75 


No.  3245—22  x  18  in. .  13.50 


No.  3246— 10  in |1.50 


24 


cnEnnECKE  e?  Milwaukee «i»  eniGf^o^ 


No.  3347—11  X  6  in. . .  .80c. 


No.  3348— 11  X  6  Id..., 80c. 


No.  3249-17  X  lOi  in. . .  .|1.35 


No.  3350—13  X  8i  in. . .  90c. 


No.  3351—17  X  lOi  in. . .  .$  1.35 


No.  8268— 11x6  in. ..  80c. 


No.  3353—11  X  6  in. . .  .80c. 


GLASSICAL  SlATlJARY  BUSfS  Aii>nQDELS^ 


25 


No.  3254—11  x6  in 80c. 


No.  3255— 11  x6ia 


.80c. 


No.  3256—11  x6in 80c. 


No.  8357—11  X  6  in 


.80c. 


No.  3258—11  X  6  in 


.80c. 


No.  3359—11  x6in 80c. 


'ZJL.ir'z:zot':^- -Tirir^. ,  -:„^:" 

^^: 

/-   -----  -  -  — 

■4 

1 

'—        1 

__ _ __( 

r,          ^-S^^^ '^-"^r'''*'^                             --' 

^-  f          ._^ 

JT^'ir^  V'A^^^^'""^                             ;' 

^^^^ 

1        ""^ 

— ^ i 

:- 

NO.J3260— 11  X  6  in  80c. 


No.  3261—11  X  6  in 


.80c. 


26 


G.nEnnEGKEGo  MILWAUKEE«l»eftl£/^0. 


No.  3-^68— 31  X  12J  in  . .  $3.50 


.ta- 


x"J^^^NhP^ 

B0^& 

). 

iiliiHliir 

I 

1 

ii ^^"^    „^„ 

No.  ya(i8— 10  .\  15  in   .  .  .$1  75 


No.  3364—21  X  14  ia. . .  .|4.00 
"    3365-  9x    6  in....    1.00 


No.  3266—11  X  11  in        ..$  1.50 
"    3266-1— 41ix  38  in..      18.00 


No.  3367— 20x15  in |  4.50 

"    3267-l-40i  X  25i  in 12.00 

"    3267-2— With  Scroll,  40f  x  25f  in. .    12.00 


No.  3208—11  X  11  in |  1.50 

"    3368-1— 4H  X  38  in. . .    18.00 


No.  3369-18  in. ... 12.50 


No.  3370—17  X  13  in. . .  .$3.00 


No.  8371— 18  in  ...$3.50 


GLASSICAL  SlAfUARY.  BOSfS  ^iPAQDELS^ 


27 


No.  3275—26  x  9i  in. . .  .|1.50 


No.  3276— 10  in.... 75c. 


No.  3277—10  in. . .  .75c. 


No.  3278-26  x  9i  in. . .  .$1.50 


No.  3379—35  x  7  in. , .  ,|1.50   No.  3280—30  x  14i  in  . .  .13.50 


No.  3381-30  X  14i  la. . .  .|2.50   No.  3282—35  x  7  in. . .  .|1.50 


28 


CflEnnECKEGo  /v\ILWAUKEE«l»emef^0/ 


No.  ^283—10  X  11  in...  $1.50 
ANTiaUE  VASE. 


No.  3284— 15i  X  14  in. . .  .|1.50 


No.  3386— Height,  8i  in ...  .$1.50 


Bead  Preface  before  Ordering. 


>»u.  ^■:i:j--10i  X  I2i  in *l,oO 

VASE  DE  MEDICI. 


%#'^^'^ 


No._3287— 15f  X  15i  in, . .  $1.50 


CELLINI  VASE. 


No.  3288-Height,  16  in.;  base.  6  x  51  in.  .$3.00 


No.  3389-Height,  16  in.;  base,  4i  in.  .|3.00       No.  3290-Height,  18  in.;  base,  41  in.  .$3.00       No.  3391-Height,  16  in.;  base,  4*  in.  .$3.00 


GLASSICAL  SlAfUAPY.  BUSfS  ^ipAQDELS^. 


29 


i|iiiiiiiii!iiiiiiiiiiiiiiiiiiiiiiMiiiiriiiiiiiiii!iiniiiiii 


lilllH 


ifiiii'iiniih 

iiitiiiifititiiiiiiiiiiiiiii Ill 

iiiiiiiiiiiiiiiiiiiia 

'i»m\» 

fr'"^ 

^ 

i 

No.  3293— t7i  X  10  in  . .  .|1.25 


All  Plaques  have  Hooks  for  Hanging: 
attached  to  the  Back. 


No.  3293—32  X  Hi  in. . .  .$3.00 


No.  3394—25  x  13  in |2  50 


No.  3395--30  X  17i  in »3.5U 


No.  3^96—171  X  Hi  in. . .  |1.50 


No.  3297-39  X  17i  in. . .  *3.50 


No.  3298-36  x  .I4i  in. . .  .|3.00 


CnENMECKEeo  MILWAUKEE "i?  GrtlG/fdO^ 


COMPOSITE. 


No.  3299— Height,  19  in. 
COMPOSITE. 


No.  3303— Height,  18  in. 
IONIC. 


FIVE  ORDERS  OF  ARCHITECTURE. 
CORINTHIAN. 

jgMlMMimiii.iiuiiiii lum.ir^ 


No.  3300— Height,  19  in. 
CORINTHIAN. 


No.  8303— Height   18  in. 
IONIC.  TUSCAN. 


DORIC. 


No.  3301- Height,  10  in. 

Doric. 


No.  3304— Height,  16  in. 
TUSCAN 


No.  3305— Height,  16  in.  No.  3306— Height,  16  in.  iNo.  3307— Height,  16  in.  No.  3308— Height,  16  in. 

Price  of  the  Five  Orders  of  Architecture,  Base  and  Caps 130.00 

Single  Order  of  one  Base  and  one  Cap 7.50 

All  have  Hooks  to  suspend. 


GLASSICAL  SIaTUARY.  BUSfS  ^A^/AQDELS^ 


31 


ITALIAN  RENAISSANCE. 

From  Portal  St.  Maria  de  Miracoli 
Venice. 


CAPITAL. 

From  Temple  Church,  London 


ITALIAN  BEtTAISSANCE. 
Capital  of  Pilaster,  Florence,  Palace  Vecchio. 


No.  3309—18  X  13  in.  .$4.00 


No.  8310— 11  x9  in.. 12.00 


PARTS  OF  A  COLUMN. 


13 


M 


ITALIAN  RENAISSANCE. 


-.^1^. 


1.  Fillet. 

2.  Cynia  recta. 

3.  Corona. 

4.  Ovolo. 

5.  Cavetto. 

6.  Upper  Fascia. 

7.  Lower  Fascia. 

8.  Abacus. 

9.  Ovolo. 

10.  Colareno,  or  Neck. 

11.  Astragal. 

12.  Fillet  or  Reglet. 

13.  Torus. 

14.  Plinth. 

15.  Surbase. 

16.  Base. 


'^m^' 


ITALIAN  RENAISSANCE. 

Roman  Corinthian. 


ill  < 

Trr^^""                "^ 

^i^Bm^n*<p««<*'B<MP>^2=^ 

W^^^^ 

*i^Aa.^M 

n™!"^ 

m 

IrT         ; 

No.  3311— lOix  12  in.... *2. 50 

CAPITAL. 
From  Stone  Church  in  Kent. 


No.  3312— 17i  X  16  in. . .  .|4.00 
ITALIAN  RENAISSANCE. 


No.  3313—18  X  lOi  in. . .  .$1..50 
BYZANTINE. 


No .  3314—18  X  13  in ..  14.00 


No  3315— 14ix  12  in..  12. 50 


No.  3316- 8  x6i  in.... 11.25 


32 


cnennECKE  cq  Milwaukee «i»  enie/^0j^ 


No.  3317—18  X  13i  in. . .  .$1.75 


No.  3318—18  X  13i  in. . .  .$1.75 


Hooks  for  Hanging  are  attached  to  the  back. 


iMMMfmii 


«n<««rt^i«vn^>«)>^ii«ii«nw^«Tt«^l«<1'*>n-*lt-«<H»n«n 


tllJlLllSIIIlpJll. 
t  iir,i»  A  iir  lit  ui  lk  ii:  -^Li  iir  1||  iiLlli  111 


;^^ 


No.  3319—31  X  17  in. . .  .$3.50 


No.  8320—26  x  20  in. . .  .$3  50 


No  3821—23  X  13  in. . .  .—$3.00 


No.  3322—24  x  18  in. . .  .$8.75 


CLASSICAL  SlAfUARY  BUSfS  ^ij^AQDELS^ 


33 


No.  3333—28  x  t3i  in. . .  .|2.75 


No.  3324-  33  x  15i  in. . .  .|3.50 


Please  read  Preface  before 
ordering. 


No.  3325— In  Three  Sections,  40  x  12i  in $4.00 

lii 


FR 


ISE'  DE-R^tNCEAV: 


< 


No.  3336-In  Three  Sections,  40  x  16i  in $4.50 


No.  3327—20  x  12  in $3  00 


No.  3338—19  X  13i  in. . .  .|3.00 


No.  3329— In  Three  Sections,  38  x  18  in. . .  .|3.50 


34 


cfiEnnEGKE  eo  Milwaukee "i?  ertie/Y(]0^ 


No.  3380—10  in.    .  .f  1.25 


No.  3333—12  in |1.25 


No.  3338— 11  in.... II. 25 


No.  3341-6  in.....')Oc. 


r 


No.  3343—7  in. . .  .50c. 


No.  3331— 12  in  ..  fl.25 


sn: 


No.  3334— 10  in.... 90c. 


No.  3336-7  in.... 50c. 


No.  333i)— 10in....|1.00 


No.  3342— 5  in  ...50c. 


No.  3344-8  In... 80c. 


No.  3332— 9  in  ..90c. 


No.  3335— 6  in.... 50c. 


No.  3337—11  in  ...$1.00 


No  3340— 9  in.... f  1.00 


No.  3345— 11  in....*  1. 00 


No.  3346-niin.    ..90c.  No.  3347— 10  in. ..  .|1. 00  No.  3348— 10  in  . .  .|1.25 

Hooks  for  banging:  are  attached  to  all  Casts  that  have  no  base. 


GLASSICAL  SIATUARY.  BUSfS  ^ii^AQDELS^ 


35 


No.  3349-7  in...  60c. 


No.  3350— 5  in.... 50c. 


No.  33.51-5  in. . .  .50c. 


No.  3352-7  in.... 60c. 


No  3358—8  ill.... $1.35 


No.  3359— 12  in 11.00 


No.  .3360—15  in.... $1,25 


No.  3361—6  in  . .  .50c. 


No.  3363- 12in....|1.25 


No.  3363-16  in...  12  00 


No.  3364—11  in....«1.00 


No.  3365— 12  in  ..  |1.25 


36 


e./iEnnECKE  GO  MiLWAUKEE'ifenief^o^ 


No.  3366— 10  in.... 11.25 


No.  3367-6  in.... 50c. 


No.  3368— 12  in.... 11.25 


No.  3370—71  in. . .  .75c. 


No.  3371-12  in.... $1.30 


No.  3369 -9i  in....  f  1.50 


No.  3372—12  in.... f  1.25 


No.  3376-12  in |1.50 

"    3377— Hand  alone,  10  in. . . .   1.00 


'   ^fe^^'"^ 


No.  3373— Sin  ...fl.50 


No.  3374— 10  in.... 90c. 


No.  3375—12  in  . .   |1.50 


No.  3878—6  in. . .  .f  1.00  No.  3379—33  in  .     |2.50 

Hooks  for  hanging  are  attached  to  all  Casts  that  have  no  base. 


GLASSICAL  SIATUARY.  BUSfb  ^i^^MODELS^ 


37 


No.  3380-27  in. . .  .$2.50  No.  3381-13  in. . .  .fl.OO; 

Bead  Preface  before  ordering. 


No.  3382—8  in. . .  .75c. 


No.  3383— 7  in.... 11.25 


No.  3384— 11  in.... $1.00 


No.  3385—6  in  . .  .lOc. 


'No.  3386— 5  in.... 50c. 


No.  3387— 5  in.... 50c. 


No.  3388-8i  in. . .  .$1.00 


No.  3389— lOi  in. . .  .$1.00 


No.  33U0— 8in....75c. 


No.  3391-8  in. . .  .80c. 


No.  3392— 5  in  ...50c. 


No.  3393— llin.... $1.50 


No.  3894— 27  in....  $2. 00 


No.  3395— 13  in  ...»1.50 


38 


cnnnnEGKEGo  MiLWAUKEE^ipenie/^o. 


ij^ 


No,  3396-30  in  . .  .$2.00 


No.  3397— 30  in.... 12.50 


Read  the  Preface  before  Ordering. 


No.  3398— 35  in...  12.50 


No.  3399-13  in. . .  .|1.80 


No.  3400— 18  in.... 11.50 


No.  3401— 33  in....  12.50 


No.  3402-17  in...  14  00 


No.  3403—2.')  in. . .  .13.50 


No.  3404—21  in. ... 12.50 


GLASSICAL  SlAfUARY,  BOSfS  ^ii^AQDELS^ 


39 


No.  3407-13  in fl.OO 


No.  3413— 10in....«1.50 


No.  3405-6  in  ...60c. 


No.3408— 5in...  50c. 


No.  3409—10  in. . .  .|1  25 


No.  3411— 7i  in  ..   $1  00 


No.  340U-Ui  in... 11.25 


Nc.  3410— ili  in....*l.~^.5 


No.  3413— 18  in....  $2  00 


No.  :i414     lU  in |1.00 


Bead  Preface  before  Ordering. 


No,  3416— 30in....S2.50 


No.  3417— 23  in... 12.00 


llinipiiiiiiiiiiiiiiiiiiiimiiiiiUMI 
No.  3418— lOi  in. . .  .|1.25 


No.  3415—17  in. . .  .|2..50 


No.  3419— 11  in.  ...11.25 


40 


cnennEGKE  e9  Milwaukee ^i?  enici^o^ 


No.  3420— 11  in.... 11.00 


No.  3421—13  in. . .  .|2.00 


No.  3423— 18  in.... 12.00. 


No.  8422—12  in. . .  .$1.70 


No.  3425— 12  in  ...$1.50 


No.  3424—33  in. . .  .$3.50 


No.  8426—13  in.... $3.00 


No.  3427—13  in. . .  .$2.00 


No.  3428— 15i  in.  ...$3.50 


GLASSICAL  SlAfUARY.  BUSfS  ^A^AQDELS^ 


41 


No.  3439-7  in  . .  .50c. 


No.  3430— 8  in.... 50c. 


No.  3431— 5  in....  40c. 


No.  3432—6  in. . .  .50c. 


No.  3433— 7  in... 60c. 


No.  3434— 5  in...  50c. 


No.  3437—5  in. . .  .40c. 


No.  3435—5  in. . .  .40c. 


No.  3436—9  in. . .  .f  1.50 


All  Casts  have  Hooks  to  suspend. 


Bead  Preface  before  ordering. 


ifiiiiiriiiiiiiiiiiiimiMrT™ 


rrrnirn  ui  m  nmmiiiiniiiiii 


No.  3438— 10  in....  $1.00 


No.  3439—5  in, . .  .60c. 


No.  3440-6  in....  50c. 


All  Casts  are  named  and  classified  in  Index. 


No.  3441— 7i  in  ...60c. 


No.  3442— 7i  in. . .  .60c. 


No.  3443— 7i  in.... 60c. 


42 


c/iEnnEeKE  e9  Milwaukee wL"  eniey^o^ 


No.  3444—12  in |1.50 


No.  3445—15  in....  12.00 


\ 


No.  3446— 21  in...  |2.50 


^-    ^P 


No.  3447—24  in....}3.00 


No  .iWS— 13iu  ..  8150 


No,  344U— IS  iu  . .  12.00 


No.  3150-21  iu  . .  $;i.00 


No.  3451—23  in. . .  .$4.00 


Order  by  Number  only. 


f        .*  •* 


No.  3452—31  in,... 14. 50 


No.  3453—14  in...  |3.00 


Named  and  Classified  in  Index. 


GLASSICAL  SlAfUARY.  BUSfS  ^^lAQDtlS/c 


43 


No.  3454-25  in  ..   |4.50 


No.  3455—31  in  ...$3.50 


No.  3458—40  in  . .  $13.00 


No.  3459— 19  in....  $4.00 


No.  3460-39  in... $13.00 


44 


G.nnnriEGKE  e9  Milwaukee ^ip  eniG/^o, 


^fr 


No.  3461— 13  in....  $1.50 


No.  3465— 18  in 13.00 


No.  3463— 11  in.... $1.50    No.  3464— 18  in  . .  $1.50 


No.  3462— 14  in.... $2.50 


.4> 


No.  8465-1— 34 in.... «7. 00 


iilllilliiiillllllilliiiliiilliilllH 

No.  3466— 18i  in....  $4.00 


No.  3467— 26  in $7.50 


No.  3468— 10  in $1.75 


No.  3469-40  in $  'J.OO 

No.  3470—  6  it 50.00 

No.  3470  has  right  arm  extended, 
legs  nearly  straight.    Round  base. 


GLASSICAL  SlAfUARY.  BUSfS  Aij>/AQDELS^ 


45 


No.  3471—8  in ^.l.^o 


No.  3472-lUin.    ..fl.50 


No.  3473-8  iu  ...  11.25 


No.  3474    'Jin....  11.25 


No.  3475—20  x  14  in  . .  ,13.50 


No.  3476-9  in.... 11.25 


No.  3477— 10  in.... fl.50 


No.  3478— 14  in.    ..|2.00 


No.  3479—11  in 11.50 


s 


III 


^i 


No.  3480— 9  in...  11.50 


No.  3481— 8  in.... $1.25 


IDlill 
No.  3482-9  in....  11.25 


No.  3483— IQ  in.... 11.50 


46 


cnennEGKE  g9  Milwaukee ^i?  enie/^o^ 


No.  3484-15  in.  .11.75    No.  3485-9x7*  in.  .|1.00  No.  3486—8^  in.  .7oc. 


No.  3487- i»  in.. 75c. 


No.  3488-15  in.. 1 1.75 


•••2^-  nXE  ASKS.  ^^'^ 


NOT   fLLUSTRATED. 


No.  3189-12x10  in.... II  7o 


No.  Height,  in. 

3493— Aeschylos 14 

3494— Augustus 13 

3495— Ajax 18 

3496— Antinous 13 

3497— Agrippa 15 

3498-Caligula 19 

3499— Canova 14 

3500— Christ  (on  foot),  by  M.  Angelo,  24 

3501— Cicero 14 

3502— Clytie 14 

3503-Dante 9 

3504-David,  by  M.  Angelo 20 

3505—  "  "  "        on  foot...  30 

3506—  "  "  "  "        ...  24 

3.507— Demosthenes 14 

3.508— Diana  15 

3509-Diomede 16 

3510 — Discobolus— Nancydes  13 

3511- Dying  Warrior 13 

3512— Euripides 15 

3513— Fighting  Gladiator 16 

3514— Juliano  DeMedici 16 

3515— Juno  Capitol 18 

3516-Jupiter 28 

3517— Madonna 14 

3518— Mercury 14 

3519— Minerva 14 

3520— Moses 19 

3521  —Nero 14 

3522— N  iobe  Daughter 13 

3523— Nubian  Girl 12 

3524— Psyche  of  Naples 12 

3525— Rafael  Dorbino 13 

3526— St.  Francis 14 

3527— St.  Jerome 16 

3528- Socrates 15 

3529— Sopliocles 15 

3.')30— Spartacus 13J 

3531— Venus  Aries 16 

3.532—    "        Bath 12 

3533—    "        Capitol 14 

a534-     "        Capua 14 

353.5—     "        Guidos 12 

3.^36-     "        Medici 12 

3537—  "        Milo 12 

3538—  "        Thorwaldsen 13 

3539— Voltaire 13 


Price. 

11.50 
1.00 
2.00 
1.00 
1.50 
2.00 
1..50 
5.00 
125 
1.50 
1.00 
5.00 

10.00 
6.00 
1.50 
1.25 
1.50 
125 
1.25 
1.50 
1.50 
1.50 
1.00 
5.00 
1.50 
1.25 
1.00 
2.00 
1.50 
1.00 
1.25 
1.00 
1.25 
1.25 
2.00 
1.50 
1.50 
1.50 
1.50 
1.00 
1.25 
1.25 
1.00 
1.00 
1.00 
1.00 
1.50 


dejPlTh:  ]yijps.spcs.  ^^ 


No.  3490—14x10  in...  *2  00 


I  II      I  II  »    IIIHIII  II 


J UL 


No.  3491—12  ill  . .  $2.00 


3540-Beethoven. 
3541— Dante 


1.00 
1.00 


No.  3492— 14x10  in....  fa  00 


GLASSICAL  SlAfUARY.  BUSfS  ^iPAQDELS^g 


47 


No.  3542— 23  in f3.50 


No.  354y— 14in |1.25  No.  3544— 13  in |1.25 


All  Masks  without  base  have  hooks  to  suspend. 


No.  3545— 22  in |3.50 


No.  354(i— 15  in f 2.00  No.  3547—13  in $1-25 


lllllilllllllllillllll 
No.  3548—22  in *4  50 


No.  3549— 15  in $1.25 


All  Casts  are  named  and  classified  as  far  as  their  origin  can  be  traced  in  index 


No  3550-16  in  ...*2  00 


No.  35,51— 15  in... $1.50 


No.  3552-15  in... $2.00 


No.  3553-18  in     .$2  50 


48 


G.nEnnEGKE  C9  MILWAUKEE'-iP  CniGf^G^ 


J^§ 


No.  3J54-141  X  lOi  in $1.75 


No.  3555-l4i  X  lOi  in. . .  .fi.OO 


No.  3556— 12  X  8i  in     ..$1.50 


All  Casts  are  named  and  classified  in  Index. 


/W}': 


No.  3a67— 11  x  8  in. . .  |1.50 


No.  3558— 19i  X  19i  in. . .  .|3.50 


No.  8559-10ix7iu....|1.50 


!Jlllllii7llilfllTfli'iini"''"T1lll 
III' I     .^^^>^^J* 


No.  3560-14  X  9i  in  .     $1.75 


No.  3&61— 13i  X  10  in. . .  .$1.75 


No.  3562-13X  lOJin.    ..$1.75 


All  Plaques  have  Hooks  to  suspend. 


GLASSICAL  SlAfUARY.  BOSfS  ^i^^MODELS^ 


49 


No.  3563— 9i  X  8  in. . .  11.00 


No.  3564— 12x7  in....  $1.00 


No.  3565—7x6  in. ... 11.00 


All  Plaques  have  Hooks 
to  suspend. 


No.  3566-8  X  7i  in  . .  .fl.OO 


My 


No.  3567—16  X  13  in. . .  .|1.75 

For  seventeen  other  Heads  from  the  Trajan 

Column,  not  Illustrated, 

see  Index. 


No.  8568—8  in. . .  .75c. 

Bead  the  Preface  before 
ordering. 


No.  3581—11  X  lOi  in. . .  .$  1.00 


No,  3583-18  X  15  in. . .  .13.50 


No.  3583—9  in. . .  .90c. 


50 


cnenMEGKE  cq  Milwaukee «l»  eniert'dG^ 


No.  3584— 8  in....  11.75 


Kead  the  Preface  before 
ordering. 


No.  3587— 14  in.... $1.50 


Hooks  for  Hanging  are  attached  to 
the  hack. 


No.  3585— 12  in  ...fl.OO 


No.  3588— 9i  in.... 11.35 


ie?V' 


No.  3589—4  in. . .  .40c. 


No.  3591— 19  in.... 13  00 


No.  3586-6  in 75c. 


Order  by  Number  only. 


No.  3590-16  in.... 13.00 


Please  do  not  eut  this  book  in 
making  orders. 


No.3592— lUin....|1.35 


No.  3593-8iin  ...75c. 


No.  3593-1— 4  in.... 25c. 


CLASSICAL  SlATllARY.  BUSfS  ^^ASDELS^ 


51 


No.  3594-6i  in  . .  .75c. 


No  3(iO0  -5  in  ...75c. 


No.  3595—11  in. . .  .|1.75  No.  3596— 9i  in. . .  .75c. 

HookB  for  Hangfing  are  attached  to  the  back. 


No.  3598—18  in        |b  00 


No.  3599-7  in.... 11.50 


Please  do  not  cut  this  book 
in  waking  orders.  No  errors 
will  occur  if  you  state  the 
number  of  article  wanted. 


No.  3601— 5  in 75c. 


No.  3602— 9i  in....  11.00 


No.  3603— 13i  in. . .  |3.50 


No.  3604— 18  in.... 14.00 


52 


C/IEnnECKE  GO  MILWAUKEE  "iP  GrtlG/^Gj 


No.  3607— 6  in....  75c. 


Read  Preface  before  ordering'. 


No.  3611— 5i  in.... 75c. 

Hooks  for  Hanging  are  attached 
to  the  back. 


No.  3615—5  in. . .  .75c. 

In  making  your  orders  state  the 
number  of  article  wanted. 


No.  3616— 5  in.... 75c. 


No.  3617—8  in. . .  .|1.50  No.  3618-5  in. . .  .75c. 


No.  3619— 6i  in.... 75c 


GLASSICAL  SlAfUARY.  BUSfb  ^ii^ /^QDELSig 


53 


CUPID. 


EMPEBOR  AtTGUSTUS, 


PSYCHE. 


No.  3663— 13  in....fl,50 
JUPITER. 


No.  3702-40  in.... $35.00 
"  3703— 22  in...  5.00 
"    8704-11  in. . . .     1.25 

HERMES. 


No.  3639—33  in. . .  .|12.00 

Busts  not  Illustrated,  see  page  54. 

DAVID. 


No.  8731— 13  in.... 11.50 


VENUS  AKROPOLIS. 


No.  3739— 12in....»1.25 


MINERVA  HEDICA. 


No.  3686—32  in....|13  00 
'•  3687— 21i  in. . . .  5.00 
"    3688-12    in  ...     l.W 


No.  3668—4  ft.  4  in. . .  .|35.00 
Bead  Preface  before  ordering. 


No.  8716— 24 in.... $8.00 
Order  by  Number  only. 


54 


cnnnnEGKEGo  rAiLWAUKEEA4penie/^o^ 


j^T^^ric^i^ 


13  XJ^ 


/■^ 


T 


Busts  marked  with  a  Star  are  Illustrated  on  Pages  54  and  56. 


No.  Height,  In.  Price. 

3630-Aeschylos 37  $8.00 

3621— ^Esciilapius 23  5.00 

3623—          "            11  1.25 

3633— Agrippa 28  8.00 

3634— *Aiax 36  15.00 

3625—*    "    36  7.50 

3636—*    "    13  1.50 

3637— Amor 17  3.50 

3638— Angelo,  Michael  28  7.00 

3629-Antinous 37  8  00 

3630— Apollo 32  10.00 

3631—      "     33  5.00 

3633-      "     14  3.00 

3633-      "     13  1.35 

3634— Ariadne 39  8.00 

8635-      "        13  1.35 

3636-      "        10  1.00 

3637— Aristotle 36  7.50 

3638— Arotino 30  10.00 

3639— *Augustus  Cassar  in  Armor 33  13.00 

3640-Augu8tus  (Youth) 23  5.00 

3641— Bacchus 30  10.00 

3642—  "          13  1.35 

3643—  "        10  1.00 

3644— Beatrice 13  1.35 

364.5— Benevieni  Head 18  3.50 

3646— Boy  Laughing 12  1.25 

3647— Boy— by  Donatello 19  4.00 

3648— Brontalone 17  3.50 

3649— Brutus    32  5.00 

3650-Canova 361  8.00 

3651— Cajsar,  Julius 30  10.00 

3652-      "            "      37  7.00 

3653-Christ 34  6.00 

3654-Cicero 30  10.00 

3655-  "        27  7.00 

3656—  "       22  5.00 

3657-Clytie   38  8.00 

8658-    "      28  5.00 

3659-  "       17  3.50 

3660-  "       14  2.00 

3661-  "      10  1.00 

3662— Cupid 17  3.50 

3663—*    "    on  pedestal    13  1.50 

3664— Dante    26  7.00 

3665-  "      16  3.00 

3666-  "       12  1.25 

3667— Darwin  36  7.00 

3668— *David 53  35.00 

3669— Demosthenes 27  8.00 

3670-  "             22  5.00 

3671—  "             15  2.50 

3673— Diana,  o*  Versailles 32  15.00 

3673—  "               "          14  2.00 

3674—  "               "         13  1.25 

3675— Diomede 28  8.00 

3676-Eros 26  7.00 

3677— Euripides 27  8.00 

3678-Faun 26  7  00 

3679— Fighting  Gladiator 28  8.00 

3680— Flamingo  Boy 20  4  00 

3681—        ■'            "    20  4.00 

3683— Flora  14  2.00 

3683— 6irl,  by  Donatello  19  4.00 

3684 — Head  with  one  Wing  from  Pompeii,  with 

defects  of  original. 13  3.00 

3685-Helena 27  7.00 

3686— *Hermes    32  10.00 

3687—*      "        22  5.00 

3688-*      "        12  1.50 


No.  Height,  In.  Price. 

3689— Hero 30  8.00 

3690— *Hippocrates 27  7.00 

3691—*          "            18  3.00 

3692— Homer 37  7.00 

3693—  "       23  5.00 

3694—  "      15  2.50 

3695— Horatius  Flaccus 25  6.00 

3696— Isis 31  5.00 

3697— Juno  Capitol 38  8.00 

3698—  "     Barberini 40  30.00 

3699—  "           "         30  4.00 

3700—  "     LudovLsi 36  15.00 

3701—  "            "         14  3.00 

3702— *Jupiter,  Otricoli 40  25.00 

3703—*      "             "        33  5.00 

3704—*      "             "        33  1.25 

3705— Laokoon 27  7.00 

3706— *Leucothea 32  15.00 

3707—*        "          lOj  1.00 

3708-Lucius  Verus 40  25.00 

3709— Madonna,  (Pieta)  v.  V.  Stoss 24  0.00 

3710— Marcus  Aurelius 30  10.00 

3711 -Mark  Antony 38  8.00 

3713— Mercury  30  8.00 

3713— Minerva 19  4.00 

3714- Minerva  Giustiani 32  12.00 

3715—        "               "          24  5.00 

3716— *Minerva  Medica 24  8.00 

3717— Medici  Juliano  de  .  24  5.00 

3718— Medici  Lorenzo  de 26  7.00 

3719— Moses 37  8  00 

3720— Nero 24  5.00 

3721— Niobe,  Daughter  36  7.00 

3722— *Niobe,  Mother 32  15.00 

3733-*    "             "      11  1.25 

3724— Nun  Nurenberg 19  5.00 

3725-Omphale 20  5.00 

3726-Paris 27  7.00 

3727— Pericles 37  10.00 

3728-Plato 36  7.00 

3729— Psyche  Naples  26  7.00 

3731— *P8yche  on  pedestai.Napies .'.".'.".'.'.'..'.'! '.  13  1.50 

3732— Raphael 27  8.00 

3733 -St.  Bruno 10  1.00 

3734-Seneca 36  8.00 

3735— Socrates 27  7.00 

3736-      "          21  5.00 

3737— Sophocles 27  8.00 

3738-Sphinx 24  8.00 

3739— *Venus  Akropolis 12  1.25 

3740— Venus  Aries 28  7.00 

3741—  "       Canova 23  5.00 

3742—  "            "        14  2.00 

3743—  "       Capitol 31  9.00 

3744—  "       Capua 32  10.00 

3745—  "       Cnidos 25  7.00 

3746—  "       DeMedici 28  7.00 

3747—  "       DeMilo 34  10.00 

3748—  "            "        16  3.00 

3749—  "            "         14  2.00 

3750—  "       Pergamon,  defects  of  original..   .  18  4.00 

3751— Verus  Lucius 40  25.00 

3752— Voltaire  27  8.00 

8753 -*Youth,  St.  Peters 32  15.00 

3754—*      •'            "           30  5.00 

3755-*      "            "           10  1.50 

3756—*      "      Supplicant 16  3.00 

3757— »      "      ofTarent ...• 161  3.00 


GLASSICAL  SlAfUARY.  BUSfS  ^A^AQDELS^ 


55 


liEUCOTHEA— EIRENE. 


SUPPLICANT  YOUTH. 


A  J  AX 


No.  3706—33   in. ..  .$15.00 
"    3707— lOiin...       1.00 


Read  Preface  before  ordering. 


TOUTH-ST.  PETERS,  ROBIE. 


No.  3756-16  in.... $3.00 


YOUTH  OF  TARENT. 


No.  3757— 16i  in. . .  .$3.00 


HrPPOKRATES. 


No.  3624— 40  in....  $15.00 
"  3625— 36  in  ...  8.00 
"    3626— 12  in  ..       1.35 


For  Busts  not  illustrated  see  page  54. 


No.  3753— 33  in.... $15.00 
"  3754-30  in  .  . .  5.00 
"    375.^—10  in. . . .     150 


No.  3690— 27  in.... $7.00 
"    3691— 18  in. . . .  4.00 


No.  3733— 32  in....  $15.00 
•'    3733— 11  in....     1.20 


66 


cnnnnEGKE  G9  Milwaukee «i»  eniGf^o^ 


No.  3758— Height,  8i  in.;  base,  18  in  . . 


No.  3761— Height,  12  in.;  base,  11  x  6  in $1.80 


No.  3760-Height,  22  in.;  base,  18  x  8  in. . .  .|5.00 


No.  3763— Height,  12  in.;  base,  11  x  6  in. . .  .|1.80 


No.  8763— Height,  14  in.;  base,  15i  x  6  in |4.00 


No.  3764— Height,  13  in  ;  base,  15^  x  6  in . . .  .|4  00 


GLASSICAL  SlAfUARY,  BUSfS  Aip/^ODELS^ 


57 


No.  3765— Height,  14  in.;  base,  13i  x  6  in. . .  .$3.50 


No.  3766 -Height,  15  in,;  base,  23  x  9  in. . . . 15.00 
"    8767—      "        11  in.;     "      15x6  in....   3.50 


No.  3768— Height,  13  in  ;  base,  30  x  9i  in. . . .  16.00 


No.  3769— Height,  10  in.;  base,  9  x  3i  in. . .  .13.00 


No.  3770— Heiglit,  lU  ill. ;  .spread  of  wings,  30in  ;  base,  11  x  11  in. .$5.00 


No.  3771— Height,  15  in. ;  base,  19  x  6  in. . .  .f 4.00 


68 


cnnnnEGKE  G9  /niLWAUKEE^ipenie/^o, 


1^ 


No.  3772— Height,  lOi  in. ;  base,  14  x  8i  in. . .  $3.00 


No.  3774— Height,  5i  iu.;  base,  9  x  4in. . .  .fl.50 


No.  3776— Height,  11  in.;  base,  14i  x  Hi  in. $4.50 


I 


.MONTI 

IILIIIIIIIHlllltlllllllllliiitlili'lUHinilllllltlllllLiiiHmmiiuuiimminniiiLuimiiiiiimiiliimii 


...X 

iitiiiiitfl 


No.  3773— Height,  20i  in.;  base,  19  x  9  in. . .  .fG.OO 


No.  3775— Height,  4  in. ;  base,  8  x  4  in   ...  10.40 


No.  3777— Height,  7  in.;  base,  11  x  5  in. . .  .|1.50 


"^'■'■'iittM^M"^"^ 


No.  3778— Height,  7  in.;  base,  ^^  x  5  in. . .  .$1.50 


No.  3779— Height,  8i  in.;  base,  12  x  5  in. . .  .11.50 


GLASSICAL  SlAfUARY.  BUSfS  ^^lAQDLlSj?. 


69 


CUPID'S  KEPOSE. 


LION  OF  LUZEKNE. 


ft 'I  X  ^) 


No.  3780— Hoiglit,  fi  in.,  I)ase,  l-'J  x  6i  in....|3.50 
ARIADNE  AND  PANTHER. 


No.  3781— Height,  11    in. ;  base,  17i  x  8    in |4.00 

"     3783—      "         4iin.;    "        7i  x  7J  in. . . .   1.00 


DESERTED  ARIADNE. 


No.  3783-Height,  21  ill.;  base,  IT    xS    iu... $10.00 
"    3784—      "        15  in.;      "      13ix5iin....     5.00 


No.  3785-  Height,  17  in.;  base,  23  in. . . . 17.50 


BOY  WITH  TX7RTLE. 


BOY  AND  GOOSE. 


THORN  EXTRACTOR. 


No.  378(5— Height,  14  in. ;  base,  14  x  8  in .  .$4.00  No.  3787— Height,  3  ft. . .  .$25.00 


No.  3788-Height,  3ft »25.00 

"    37.89—      "      13iin;base,10x5iin     3.25 


60 


cnEnnECKEeo  MiLWAUKEE'ipenie/VQG^ 


BACCHUS  AND  ABIADNE. 


CXTPID  AND  PSYCHE. 


NIOBE  AND   DAUGHTER. 


No.  3790— Heigrht,  19  in. ;  base,  8x7  in..|5.00        ." 


No.  3791— Height,  18  in.;  base,    6  in. .  .|5.00 


3791 


— ileigh 
-1— Hei 


gilt,  38  in.;  base,  11  in.  9.00      No.  3793-Height,  7  ft.  8  in |100.00 

"    3793—      "      26  in. ;  base  13  x&i  in.     9.00 
"    3794—      "      31  in.;   "     14x7  in.     6.50 


Order  by  Number  only. 


Bead  Preface  before  ordering. 


VENUS  AND  ADONIS. 


AMOR  AND  PSYCHE. 


Do  not  mutilate  tliis  book. 


THE  THREE   GRACES. 


No.3799-Heiglit,29in  ;  base,  17ixll 

in flO.OO 

"    3800— Height,  21  in  ;  base,  11  x&i 

in 6.00 

' '    3801— Height,  12  in. ;  base,  7i  x  4i 

No.3797-Height,29in.;  ba8e,17ixl2  in 3.50 

in f  10.00        "    3798— Subpedestal  same  as  shown 

"    3798 -Subpedestal  for  same,    as                                      in   No.  3797  (Venus  and 
No.3795— Hgt,28in.;ba8e,  10Jx7iin.$10.00                        illustrated.  Height,   7  in.;                                    Adonis),  height.  7 in.; base 
"    8796—"      13in.;    "       5ix3iin.     3.00  base,  20xl4in 2.50  30xl4in 2.50 


GLASSICAL  SlAfUARY.  BUSfS  ^i-MQDELS^g 


61 


POLYHYMNIA. 


WELCOME. 


EUTEBPE. 


No.  3802— Hgt, 45 in.; base,  19  x  12 in.  .f 20.00        No.  3803— Hgt,  56  in.;  base,  15 in.  .$30  00         No.  3804— Hgt,  45 in.;  base,  19x  12 in.  .$20.00 


Please  do  not  cut  this  Book  in  making  orders.    ITo  errors  will  occur  if  you  state  the  number  of  article  wanted. 


AMOB  AND  PYSCHE. 


LAOCOON  GROUP. 


No.  380.5— llt^jghl,  ao  111. 
"  3806-  '■'  16  in. 
"    3807—      "       13  in. 


Inisi-,,  26  X  12iin  ...$13.00 
"  19i  X  lOi  in. . . .  8  00 
•'      16    X   9    in....     5.00 


No.  3808-Height,  6  ft. . .  .$100.00 
"    3809—      "      36  in....     40.00 


r  ,   -.p-MlK 


62 


CflEnnECKE  GO  MILWAUKEEAi^enie/^0^ 


TERPSICHORE. 


VICTORY. 


TERPSICHORE. 


No.  88  0— Height,  39  in.;  base,  11  in.  115.00    No.  3811— lliight,  S8  in.;  base,  13i  iu..|18.00     No.  381  J- Height,  39  in.;  base,  11  in.  .f  1.5.00 


S£S£* 


VICTORY. 


HEBE. 


No.  3813— Hgt,  60  in. ,  base,  16  x  13  in .  $30.00  No.  3816— Hgt,  44  in. ;  base,  13  in . .  |30.00 

"   3814-'-      .50in.;    "      ISxllin.  25.00 
"    3815—"      SSin.j    "     7J  in 4.50 


No.  3817— Hgt,  42  in.;  base  12  in. . 115.00 


GLASSICAL  SlAfUARY.  BOSfS  ^^r\QDE.lSr^ 


63 


VICTORY— To  Hang. 


BELT  BUCKLERS. 


AND  PATROCLUS. 


No.  3818— Height,  37  in. . .  $12.00 
VICTORY. 


No. 3820— Height,  24   in. ; base,  16  x    Sin. f  15.00 
Pedestal—    "        13Jin.;     "      19x10  in.     5.00 


No.  3819—24  in $7.50 

"    3819-1 -16Hn.;  base,  7  X  8in....   5.00 


JTTLIANO  DE  MEDECI. 


LORENZO  DE  MEDECI. 


^  llillliiiii^^ 
No.  3821-Hgt,  46  in.;  base,  10  in.  .flo.OO        No.  3822— Hgt,  3  ft.;  base,  15  x  13i  in.  .$35.00     No.  3823— Hgt,  3  ft.;  base,  15x  13iin.  .$25.00 


64 


C/IEHriEGKE  G9  MILWAUKEE  ^ip  GniG/^Q 


ij^ 


MINERVA. 


DIANA— GABII. 


MARS. 


No.  3834— Height,  18  in.;  base,  5i  in. . .  $2.50 


No.  3837-Height,  18 in. ; base  6  x  5i in.. f 2.50 


MINEBVA. 


No.  3825— Height,  6  ft |60.00 

•'    3826—      •■      28  in.;  base,  8  in...     7  oO 


Read  Preface  before  ordering. 


HEBE. 


CERES. 


No.  3828— Height,  7  ft.  6  in |75.00 

"    3829—      '•     42in.;base,  12x11  in  12.00 

No.  3829  is  without  the  snake. 


No.  b830-Height,  62  in $35  00      No.  3832— Height,  44 in.;  base,  16  x  11 

"    3831-       "       36  in.;  base,  10  in..   10.00  in |1400 


GLASSICAL  SIAfUARY.  BUSfb  ^i^'MQDELSi? 


65 


VE  N  U8-C  ANO  V  A. 


VENTJS  IN  SHELL. 


VENUS-  GENETRIX. 


No.  3836— Height,  18  In.;  base,  11  x  8  in.  ..|5.50 


No.  3833-Height,    5  ft.  9  in 160.00 

"    3g34—      '•        34  in.;base,  lOin..     8.00 
"     3835—       "        23  in.;     "      7iin..     4.00 


Read  Preface  before  orderingr. 


No.  3837— Height,  6  ft  f60.00 

"    3838—      "      28  in  ;  base,  8  in....     7.50 


VENUS    DE  MEDICI. 


VENUS— THOBWALDSEN. 


APOLLINO  DE  HEDICI. 


No.  3839— Height,  63  in 135.00      No.  3842— Height,  62  in 135.00 

"    3840—       "        36  in.;  base,  12 in..    12.00        "    3843—      '•        38 in.;  base,  12x10 

"    3841—       "        30in.;      "    9iin..    1000  in 12.00 


No.  3844-Height,  63  in. . .  .}35.00 


66 


cnenneeKEGo  (v\iL-wAUKEEAi»enie/^o^ 


VENUS— Going  to  Bath. 


CROUCHING  VENUS. 


VENUS— Coming  from  Bath. 


No.  3846— Height,  48  in *50.00 

"    3847—      "        17in.;  base,  lllx6i 

in 5.00 


Please  do  not  cut  this  Book  in  making 
orders.  No  errors  will  occur  if 
you  state  the  number 
No.  3845— Height,  33  in.;  base,  10  in.. $10.00  <jf  article  wanted. 


4- 


OBEEK  SLAVE. 


VENUS  DE  MILO. 


VEMU.-  OF  BATH 

No.  3848-Height,  35  in.;  base,  12  in..|10.00 

Read  Preface  before  ordering. 

FLORA. 


No.  3853-Height,  7  ft 150.00 

No.  3849— Height,  66  in $60.00        "    3854-      "      42  in;  base,  12^  in. .    12  00 

"  3850—  "  40  in  ; base,  12 in..  12  00  "  3*55-  "  3tin.;  "  10  in..  9  00 
"  3851—  "  19  in.;  "  6in..  3.00  "  3856—  "  23  in.;  "  7iin..  4  50 
"    3852-      "        14iin.;    "       4in..     150        "    3857—      "      19in.;    "       5    in..     3.50      No.  3858— Height,  42  in.;  base,  12  in..  $12.00 


GLASSICAL  SIATUARY  BOSfS  ^i.^MQDELS^ 


67 


HERCULES— FABNESE. 


ABOTINO— Listening  Slave. 


GEBMANICtJS. 


/ 
\ 


No.  3861— Hgt,  16  ft 160.00 

"    3862—  •'       17in.;  base,  15x7iin...     6.00 


No.  3859-Hgt.,  10ft flOO.OO 

"    3860—    "      29  in.;  base,  10 in 7.50 


PSYCHE. 


Please  do  not  cut  this  Book  in  making 
your  orders. 


MOSES. 


No.  8868    —Hgt.,  6  ft. 
"    8868-1—    ••     32  in.. 


.$75.00 
.     7.50 


EBATO. 


No.  3864-Hgt.,  86  in. 


"~~™«'««*iiijijia^ 


No.  8865— Hgt.,  46  in. ;  base,  12  in. . . . 112.00 
.125.00        •'    3866—    "      24  in.;    "      7iin....     4.00      No.  3867— Hgt.,  26  in.,  base,  14  x  11  in.. 17.00 


68 


CMEnnEGKEGO  MILWAUKEE  "iP  eniG/^G/ 


SUPPLICANT  YOUTH. 


FAUN. 


ANTINOUS. 


No.  3868— Height,  54  in •  •  •  •|25.00 

"    3869—      "       31  in. ;  base,  7  in. . .    7.00 


No.  3871 -Height,  6ft |7").00 

No.3870— Height,  39in.;  base,  10ix8  ..    ssTi—      "      35  in.,  base,  7i  in. .     5.00 

in fO.OO 


BACCHUS. 


FAUN. 


ACHILLES  BOROHESI. 


XT         ncr,.       TT    •     .  .     «  i:.      .    •  »o,=  An  ^^BHiailM^ 

No.  3874— Height.  7  ft.  4  in |85.00 

No.  3873 -Height,  5  ft.,  base,  15  in...  tSO.OO        "    3875—      "     45  in.;  base,  14  in. . .    15.00      No.  3876— Height,  5  ft;  base,  15  in. .  .$30.00 


GLASSICAL  SIAfUARY.  BUSfS  ^ipnQDELS^ 


69 


SLAVE. 


THE  CYKLOP  POLYPHEM. 

Throwing  Stone  at  Odysseus. 


CINCINNATTJS. 


I 

No.  3877— Height,  46  in   . . .  f  12.00 


No.  a87'J— Heiglit,  6ft., $100.00 

"    3880—    "       27  in. ;  base,  14  X  9 

in 9.00 


No.  3878— Height,  17  in.;  base,  7i  x  5 
in 


13.00 


BOXEK. 


FIGHTING  GLADIATOR. 


BOXER. 


A 

:^^   —T--~-   -v™='  HI 

^*-*-l«**B|^^  No.  3883-Height  from  toe  to  head,  0  ft.; 

^^™^^^  base,  46x28  in 175.00 

"    3883— Height  from  toe  to  head,  41  in.; 

No.  3881— Height,    4    ft.;    base,  base,  23  x  13  in 12  00   No.  3885— Height,  33  in.;  base, 

27xl3in fl6.00     "    3884— Height,  34  in.;  base,  16  x  7  in 10.00  19  x  lOi  in |12.00 


70 


Cl 


.flEnnEGKEGo  MILWAUKEE«L^enie/^0, 


Ij^ 


MEBCTTRY. 


SILENUS  AND  INFANT  BACCHUS. 


MERCURY. 


No.  3886-Height,  lOi  in. ;  base,  4i  in.  |3  00 


No.  3889— Height.  63  in |40.C0 

"    3890—      "       23  in  ;  base,  8i  in  .     5.00 


No.  3887— Height  48  in |)5  00 

"    3888—      "      32  in 6.00 


Bead  Preface  before  ordering. 


Order  by  Number  only. 


Do  not  Mutilate  this  Book. 


ATLAS. 


HERMES. 


No.  3891— Height,  7  ft.  8  in. 
"    3892—      "      30  in 


.flOO.OO 


FAUN. 


No.  3891-  Height,  00  in 150.00 

10.00      No.  3893— Height,:49in.;base,  13in..$ll.Q0        "    3895—      "„.    34  in.;  base,  11x9  in.    6.00 


GLASSICAL  SlATiJARY.  BOSfS  '^ii'/^QDELS^ 


71 


DISCOBOLUS  OF  MYRON. 


NABCISSXJS. 


DISCOBOLUS  OF  NAUCYDES. 


No.  3896 -Height,    6  ft. ..  .885.00 
"    3897—      "        38  in...     6.00 


APOLLO  SAUROKTONOS. 


■illll 

No.  3901— Height,  68  in. . .  .$50.00 


No.  3898— Height,  36  in. ;  base,  11  in. . .  .|5.00 


AMAZON. 


No.  3899— Height,    6  ft. . .  .»65.00 
"    3900—      •'        25  in....     4.00 

BACCHUS. 


No.  3902— Height,  7  ft. . .  .flOO.OO 


No.  3903— Height,  63  in  . .  .|50.00 


72 


cnennEGKEGo  /Milwaukee ^ipeniG/^o. 


ij^ 


SOPHOCLES. 


DEMOSTHENES. 


ABISTIDES. 


No.  3904— Height,  7  ft ; . . . .  $100.00 

"    3905—      "     36 in.;  base,  13x8 in.     12.00 


No.  3906-Hgt.,  36  in.;  base,  13x8 in.  .$13.00 


No.  3907-Height,  7  ft $100.00 

"    3908—      "     36in.;  base,  12x8  in.    12.00 


Bead  Preface  before  ordering'. 


AESCULAPIUS. 


FLYING  MERCURY. 


No.  3909— Height,  7  ft $100.00 

"    3910—      "    36in.;base,  llxSiin.    13.00 


No.  3911— Hgt.,  35  in.;  base,  7  in. ..$7.00 


Height  given  is  from  base  of  Pedestal  to 
top  of  finger. 


Order  by  Number  only. 


HYGIEA. 


No.  3912-Height,  6  ft $75.00 


GLASSICAL  SlAfUARY.  BUSfS  ^^lAQDLlSr^ 


73 


FLYING  MEBCUBY. 


AP0XY0MEN08. 


ADONIS. 


No.  3914— Height,  6  ft. ;  base,  16  In. . .  |40.00 


No  3915-Height,    7  ft. . .  .|80.00 
"    3916—      "      42  in 15.00 


DIANA. 


No.  3917-Hgt..  7  ft.  6  in |85.00 

"    3918-   "    37  in.;  base,  13  in.   15.00 


iilMlllllllllllllllllllllllllllHIIIIIIIIIIHIIIIIIIIIIl liiiiiiiiiimiiiil 

No.  3919— Height,  9  in. . .  .|3.00 


No.  3920— Hgt.,  7  ft $85.00 

"    3931—   "    34  in.;  base,  14^  in..    15.00 


74 


cnEnnEeKEGQ  MiLWAUKEE«i»ertie/^o^ 


TWILIGHT. 


DAWN. 


>\ 

P 

\vl!L 

jl-,-    ,-   ^i-^ 

^.r^^^fl 

No.  3933— Height,  22  in;  base,  20x9  in  . .  .$15.00 


WRESTLERS. 


No.  3924- Height,  23  in.;  base,  20x9  in. . . .  115.00 

MEBCtTRY. 


DYING  GAUL. 


No  3926-Height,  7  f t  . .  flOO.OO 
No.  3927— Height,  14  in.;  base,  26x13     in, . .  |6  00 
No.  3938—      "  9  in.;      "     17x7,'.^  in,...    3  00 


No.  3925-Height,  16  in  ;  base,  19  in. . .  .89.00 

NIGHT. 


V  1 

I1S7SK  J.  ii  ,,«t««^ 

No.  3929— Height,  12  in.;  base,  8x6. . .  .§3.00 
DAY. 


No.  3930— Height,  32  in.;  base,  20x9  in. . .  .|15.00 


No.  3931— Height,  22  in.;  base,  30x9. . .  .f  15.00 


GLASSICAL  SlAfUARY.  BUSfS  i^nSDELSj? 


75 


vM:^m 


Please  do  not  cut  this  book 
in  making  orders.  No  errors 
will  occur  if  you  state  the 
number  oi  article  wanted. 


No.  3933— Hgt.,  33  in.;  diam.  on  top, 

14iin 18.00 


No.  3933— Height,  38  in,;  base,  13  in.; 

diam.  on  top,  13i  in $7.00 


No.  3934— Hgt.,  36  in  ;  diam.  top  plate, 

9  in 18.00 


No.  8935— Height  of  pedestal  alone, 
40i  in.;  base  of  pedestal, 
11  in.;  top  plate,  9i  in.; 
price  of  pedestal  alone. .  .$8.00 


No.  bii;iO— Height,  37  in.;  base,  21  in. ; 
diameter  on  top,  18  in  ; 
height,  including  castors, 
40  in J28.00 


76 


e.nEFinEGKE  GP  /nilWAUKEE^i?  cniGi^o^ 


No.  8938— Height,  11  in.;  shelf,  14x13 

in $6.00 

"   3938-1— Height,    9in.;     shelf,  12 

X  12  in 5.00 


All  brackets  have  hooks. 


No.  3987— Height,  14  in. ;  shelf,  9Jx6} 

in 13.00 


No.  3940-Height,  U  in.;  shelf,  16i  x  ISJin.  |5.00 


f'^i'^C 


No.  3939— Height,  111  in.;  shelf,  8x8 

in $2.50 


No.  3913— Hgt.,  17 in.; shelf  12x12 in.    f5.00 
"    3943  1—"    14  in.;     "     10x10  in.      4.00 


No.  3942— Height  of  pedestal, 
43iin.;  base,  lU  in.; 
top     plate,    9i     in.; 

price     of     pedestal  »..  rn 

No.  3941-Height,  14  in.;  shelf,  9i  x  8i  in...  .$3.00  alone $8.00      No.  3944-Hgt.,  14in.;shelt,  8i  x8i  in.   $d..)0 


GLASSICAL  SlAfUARY,  BUSfS  ^A^AQDELS^ 


77 


VINCENT  RELIEF. 


ORPHEUS,  ETJRYDICE  AND  MERCURY. 


MANIKIN. 


No.  3945-11  ill. . .  .$2.00 


No.  3946-44  x  38  in. . .  .|1.')  00 
"    3947—11  X  10  in 3  00 


Modeling  human  foot  in  clay  showing  the  work  in 
different  stages.     All  have  a  base. 


No. 


3994—  6  in. 

Hardwood. . 

.  .$  1.75 

3995—  9  in. 

" 

.     3.35 

399B— 12in. 

Softwood.. 

.     200 

3997—15  in. 

.     2.50 

3998-18  in. 

.     3.00 

3999-31  in. 

.     4  00 

4000— 24  in. 

.     5.00 

4001-30  in. 

.     8.00 

4003-36  in 

.    12  50 

No.3948— 13in....fl.50 


No.  3949—13  in.... 11.50 


No.  39.50  -13  in... 11.50 


Modeling  human  hand  in  clay  Showing  the  work  in 
different  stages.    All  have  a  base. 


Male  and  female  lay  figures,  life 
size,  dressed  in  tricot,  with  joints  on 
all  limbs  and  stand  to  rest  upon, 
each,  $135.00 


No.  3951—16}  in  . .  .$1..50  No.  3953-16i  in. . .  .$1-50  No.  3953— 16i  in. . .  .$1.50 

Modeling  the  bust  in  clay.     Different  stages  of  work  shown. 


No.  3954— 12  in... il. 00 


No.  3955-18iin..$3..50    No.  3956-18i  in.  .*2.50     No.  3957-18} in.  .$2.50     No.  3958— 18}  in.  .$2.50   No.  3959-18  in.  .$2.50 


78- 


cnEnnECKE  g?  milwaukeea4j  enie/^0^ 


LEKYTHO— AMPHOKA . 


All  Vases  are  plain  white. 


GREEK  AMPHORA. 


i.a^%P^ 


^fflgllBlgT-BBgiaglagl 


No.  3960— 10  ia.... $1.60 


HYDRIA. 


No.  3964-10  in  ...|1.25 


GREEK  KRATER. 


AMPHORA. 


No.  3961—8  in  ...f  1.00 


GREEK  AMPHORA. 

Panathenaic. 


AMPHORA. 


No.  i59t33— Sin fl.OO 


LEKYTHO-AMPHORA. 


No.  3963— 10  in |1.50 

HYDRIA. 


No.  3965-9  in   ...|1.00  No.  31,66-9  in. ..  .f  1.00 

LEPASTE. 


No.  3967— 9in....|l.S5 


KRATER. 


No.  3969-5  in.... f  1.00 


KYLIX. 


No.  3968-9  in.... $1.25  No.  3970— 5  in.  ..  .♦1.00  No.  3971-  9  in. . .  .*1  25 

In  some  of  the  Vases,  the  more  exposed  handles  are  cast  in  metal,  wliit^li  is  eoloi-ed  uniformly  with  the  rest. 


GLASSICAL  SIaTUaRY.  BUSfS  Aii>AQDELS^ 


79 


LECYTHU3. 


Please  do  not  cat  this  Book  in  making  orders. 


LEBES. 


No.  3973-13  in...  »1.35  No.  3!)73— 10  in  . .  .|1.3.5 

ETBTTSCAN  VASE. 


LECYTHUS. 


&. 


No.  3977— 7iin....|1.2,5 
GREEK. 


No.  3976— 10  in... 11.00 


ABYBALLUS. 


OENOCHOE. 


No.  3974— 10  in  ...|1.25 
CANTHABT7S. 


No.  3978— 8  in... 11.25 
LEBES. 


No.  3979— lOi  in.  .11.00   No.  3980—9  in.  .|1.00     No.  3981-9  in.  .$1.00 


GREEK  VASE. 


GREEK  JXTO. 


GREEK. 


ANCIENT  JUG. 


PROCHOUS. 


No.  3975—10  in fl.OO 


MODSBN. 


No.  3982—10  in...  |1.00 


MODERN. 


No.  3983-10  in .  .fl.OO     No.  3984-8  in.  .75c.      No.  3985-8  in.  .7.ic      No.  3983-7  in.  .75o.       No.  3987—10  in.  .|].25 


80 


cnennEGKE  e9  Milwaukee "i?  enicrt^o^ 


WIBE  STATUE  STJPPOKT. 


BUST  SUPPORT. 


HODELING  BOABD. 


No.  3989-18  X  7  in.  eaFcl  only.  .60c. 
Will  hold  a  plaque  18  x  16  in. 


No.  4003— 15  X  13  in. 


.13.00 


MODELING   STAND  FOB  WORK 
IN  BELIEF. 


No.  3990. 


No.  3991. 


ADJUSTABLE  COMBINATION 
STAND. 

For  modeling,  drawing,  placing 
drawing  niodol.s,  on,  etc.  It  can  be 
extended  from  3  ft.  to 6  ft.  It  is  made 
of  wrought  iron,  except  the  top, 
which  is  wood,  and  14  x  13  inches. 


No.  40O4— Hgt..  13  in  ;  ba.se,  14  x  11 

in.;  top,  14  X  13  in ...|3  35 

MODELING  STAND. 

For  Busts  and  Statues,  with 
revolving  top. 


No.  4005— Hgt,  50in.;  top,  15  in |4.QP 

"    3988— with  a  screw  column,  can  be 
extended  3H't.  to4ift. 

EASEL  FOB  SUPPORTING 
MODELING  BOABD. 


No.  3993-Stand  only  . .  .$6.00 


No.  3993-Stand  only  . .  .«6.00 


No.  4006— Hgt,  66  in. ;  width  at  base,  33  in.  .|3.25 


GLASSICAL  SlAfUARY.  BOSfS  ^^lAQDtlSji 


81 


KINDERGARTEN  BRICK  AND  BUILDING  BLOCKS. 

After  studying  the  various  activities  of  children,  Froebel  arrives  at  the  conclusion  that  "  play  is  the  natural,  the  appropriate  busi- 
ness and  occupation  of  the  child  left  to  his  own  resources.  The  child  that  does  not  play  is  not  a  perfect  child."  Here,  then,  we  have 
a  philosopher's  statement  that  play  is  appointed  as  a  means  of  developing  the  powers  of  the  child  ;  it  teaches  them  to  observe,  to  invent, 
to  construct.  Concerning  the  latter  he  says,  "  I  see  that  they  invent  and  construct ;  but  often  awkwardly  and  aimlessly.  I  can  avail 
myself  of  this  instinct,  and  open  to  it  a  definite  field  of  action.  I  shall  prompt  them  to  invention,  and  train  them  in  the  art  of  con- 
struction. The  materials  I  shall  use  for  this  end  will  be  simple  ;  but  in  combining  them  together  for  a  purpose,  they  will  employ  not 
only  their  knowledge  of  form,  but  their  imagination  of  the  capabilities  of  form.  In  various  ways  I  shall  prompt  them  to  invent,  con- 
striiot,  contrive,  imitate,  and  in  doing  so  develop  their  nascent  taste  for  symmetry  and  beauty.  And  so  in  respect  to  other  domains  of 
that  child-action  which  we  call  play,  1  see  that  I  can  make  these  domains  also  my  own.  I  can  convert  children's  activities,  energies, 
amusements,  occupations,  all  that  goes  by  the  name  of  play,  into  instruments  for  my  purpose,  and,  therefore,  transform  play  m to 
work.  This  work  will  be  education  in  the  true  sense  of  the  term."  And  when  Froebel  came  to  reduce  his  theory  to  practice,  he  devised 
many  processes  to  represent  the  principles  he  advocated,  among  them  practising  the  senses  of  the  child  with  a  definite  purpose  ; 
teaching  it  to  observe  the  properties  of  objects  ;  counting  ;  getting  notions  of  form  and  color  ;  drawing  ;  building  with  cubical  blocks; 
modeling  in  wax  or  clay,  etc.  What  more  interesting  and  profitable  exercise  to  the  child  than  the  building  blocks  afford,  could  we 
desire  V  The  shape  of  each  block  is  a  study.  But  what  an  exercise  for  its  inventive  faculty  !  It  will  build  and  tear  down  again,  re 
arrange  them  in  a  new  way  and  after  a  brief  enjoyment  of  the  structure,  think  of  a  better  way  in  which  it  can  be  built ;  and  the  house, 
church  or  bridge  is  razed  or  broken  down  and  an  improved  building  erected.  The  separate  pieces  are  all  carefully  scanned  with 
reference  to  their  fitness  in  a  certain  position  ;  the  number  necessary  is  determined  and  the  counting  of  the  bricks  on  hand,  of  spandrils 
and  arches  ready  for  use  ;  the  whole  performance  of  the  child  showing  a  seriousness,  an  intenseness  of  interest  and  application  that 
cannot  but  aid  the  whole  mental  growth  of  the  child.  And  shall  we  withhold  from  the  child  suQh  simple  means  for  his  education  ? 
Should  not  every  household  be  suiiplied  with  a  box  of  geometric  solids  and  planes,  building  blocks,  paste-board  and  scissors,  paper  for 
folding  and  cutting,  clay  and  wax  for  modeling  ?  Then  if  no  kindergarten  is  near  where  the  child  can  attend,  it  has  a  few  of  the 
materials  at  hand  through  which  it  can  gain  entrance  to  the  world  of  facts  and  form  ;  by  means  of  which  its  slumbering  faculties  can 
be  awakened  and  the  dominant  activities  determined. 


No.  10. 


No.  7 


2x1  xH. 


No.  4. 


No.  « 


IxHxK 


No.  1 


IxJ^x'i 


1  X  1  X  1^ 


IHxlx}^ 


The  above  diagrams  show  the  exact  shape  and  size  of  our  Kindergarten  Bricks.  To  place  them  within  the  reach  of  all  we  offer 
tlieni  at  the  very  low  rate  of  |1  00  a  box  ;  they  are  assorted  as  per  list  given  below  and  packed  in  neat  boxes.  By  the  use  of  these 
blocks  a  child  can  budd  houses,  churches,  crosses,  steps,  columns,  bridges,  etc  ,  in  a  numberless  variety  of  styles. 


ASSOBTED  BOX  KINDEBOARTEKT  BBICES. 


No.  1-Number  of  brick  in  box 13      No.    7- Number  of  brick  in  box 


2— 

3- 

4 

5 

6 


7- 

8- 

9- 

10- 

11- 

12- 


.20 
.  4 
.  1 
.  1 
.  2 
.  2 


No.  13— Number  of  brick  in  box 1 


14- 
15- 
16- 
17- 


I 


Total  number  in  box,  75,'price,  $1.00. 

Special  prices  in  large  quantities. 

No.  4034— Froebel  Monument,  Cube,  Cylinder  and  Ball,  height,  12^  in fl.OO 

No.  4035— Froebel  Bust,  height,  28  in  ...  |8.00.  No.t4036— Froebel  Bust,  height,  16  in. . .  .|8.00. 


82 


CMEnnEeKE  GO  MILWAUKEE'ifeme/^O^ 


MODELING  TOOLS  FOR  CLAY,  PLASTINA  OR  WAX. 


No  4014—8  in per  doz.,  $3.00 


No.  4007—8  in per  doz.  |4.00 


No.  4008— 8  in.... per  doz.,  $3.00 


No.  4015— 8  in per  doz.,  |3  00 

To  form  a  correct  idea  of  the  size  and  shape  of  the  Modeling 
Tools  we  have  added  full  size  of  sectional  ends,  except  in  Nos.  4009 
and  4010,  which  admitted  giving  size  in  figures. 


No.  4009-8  in per  doz  ,  $4.00 

Hennecke's  Modeling  Tools,  are  made  of  polished  boxwood, 
and  are  the  most  practical  tools  made.  By  looking  at  the  full  size 
sectional  views  you  will  observe  that  the  8  make  j6  distinct  tools. 
We  will  send  sample  set  of  8  tools,  post  paid,  for  JJ3.00. 

Any  size  or  shape  of  modeling  tool  made  to  order  at  a  pro- 
portionate cost. 

Modeling  tools  made  of  any  other  material  than  boxwood, 
cocoanut,  ebony  or  boue,  will  not  work  satisfactorily  because  they 
"drag"  the  clay. 


No.  4016--8  in  . .  .per  doz.,  $4.50 
FLEXIBLE  TOOL  FOR  LARGE  WORK. 


No.  4010—9  in per  doz.,  $6.00 

STEEL  IVIODELINa  TOOLS. 


No.  4017—10  ill. . .  .per  doz.,  16.00 
"    4018— 12  in "  7.30 


RASP  FOR  PLASTER. 


No.  4030-9  in per  doz.,  $9.00 

KNIVES  FOR  MOULDING. 
Concave  on  one  »ide  and  convex  on  the  other  side. 


No.  4019-9  in per  doz.,  $6.00 


No.  4026—5  in.  long each,  $  .60 

"    4037— 7  in.     "    "  ,80 


Hennecke's  Prepared  Modeling  Clay,  is  of  a  light  stone  color,  brings  out  light  and  shade  to  perfection,  is  very  pleasing  lo  the  eye. 
works  well,  is  very  plastic,  not  sticky,  will  not  shrink,  and  never  cracks  when  properly  used;  after  once  trying  our  prepared  clay  you 
will  use  no  other  as  the  price  is  not  higher  than  that  charged  for  common  clay,  and  it  is  far  superior.  The  clay  can  be  used  over 
again— the  oftener  it  is  used  the  better  it  works  If  clay  gets  too  dry  add  water,  but  knead  thoroughly;  if  too  wet  then  dry  it.  To 
keep  clay  in  perfect  working  condition,  it  should  be  kept  in  a  covered  earthen  jar;  cover  the  entire  lid  with  a  coarse  woolen  cloth, 
burlap,  orcott'ee  sack,  between  this  and  cover  sponge,  which  keep  wet  enough  so  the  moisture  will  not  drip  on  the  clay. 

Should  Prepared  Modeling  Clay  get  frozen,  then  knead  thoroughly  before  using  .same.  Plaster  of  Paris  for  Casting,  by  the  Barrel 
(large)  $3..50.  Modeling  Clay  per  lb.  3  cts.  Plaster  of  Paris,  extra  good  quality,  per  bbl.  (300  lbs),  $5.60.  Plastina  per  lb.  60  cts.  Mod- 
eling Wax  per  lb.  60  cts. 


GLASSICAL  S1ATLIARY.  BUSfS  ^^AQDELS^ 


83 


ATOMIZEB  FOB  MOISTENING  CLAY. 


OAST  STEEL  DIVIDERS. 


^: 


No.  4021.... $1.00 


No.  4028  -  5  in each,  |0  50 

"    4029—  Tin "         .60 

"    4030—  9  in "         .75 

"    4031— 12  in "       1.00 

"    4032— 15  in "       1.50 

"    4033-18in "       2  00 


DOUBLE  CALIPERS. 


CALIPERS. 


No.  4022 


No.  4011— 4  in.. 

. .  each,  30c 

"  4012— 6  in.. 

. .  "  40c 

"  4013— 8  in.. 

. .  "   50c 

No.  4028— 4  in 40c. 

"    4024— Sin  ...50c. 
"    4025— 6  in  ..  .00c. 


No.  4022  Combined  Modeling  and  Drawing  Table,  price  $6.00.  This  does  not  include  the  Drawing  Board.  Height  of  table  30  in., 
length,  26  in.,  depth  24  in.  Other  sizes  made  to  order.  This  table  has  a  drawer  for  tools,  clay,  etc. ;  also  a  small  drawer  in  same 
to  receive  any  waste  clay  on  top  of  desk  through  the  cover  fitting  close  in  top  of  table.  The  drawing  board  when  not  in  use  can  be 
put  in  its  place  as  shown  in  illustration  in  a  second.  The  easel  to  place  casts  and  drawings  against  can  be  folded,  and  drops 
down  through  an  opening  between  the  table  and  drawing  board  at  pleasure. 

MODEL  DRAWING. 

A  valuable  book  for  teachers  and  for  self-instruction,  containing  the  Elementary  Principles  of  Drawing  from  solid  forms,  with  20 
single  and  6  double-page  plates.  Cloth,  |1.25,  post  paid.  This  book  contains  a  course  of  lessons  designed  to  teach  the  elements  of 
Model  Drawing  and  Perspective,  and  to  encourage  drawing  from  the  ob.jects  instead  of  from  copies.  The  latter  is  considered  by  the 
foremost  educators  in  all  countries  a  waste  of  time,  yields  no  results,  and  deadens  the  interest  in  the  study  of  Art.  "  It  is  not  the 
shadows  of  things,  but  the  things  themselves,  which  should  be  presented  to  youth." 


PLASTINA. 

A  New  Plastic  Material  for  the  Use  of  Sculptors  and  Modelers. 


This  new  material  does  not  get  dry  as  is  the  case  with  clay,  nor  harden  like  wilx,  but  always  maintains  its  plasticity  and  softness. 
Plastina,  not  being  soluble  in  water,  will  not  adhere  to  chalk,  nor  les.sen  its  cohesiveness  when  a  cast  is  taken.  It  makes  it  possible 
to  take  the  cast  of  any  form  without  altering  the  .smallest  details  of  the  model.  In  collo.ssal  models,  where  the  great  disadvantages 
Inseparable  from  clay  are  more  felt,  the  superior  value  of  Plastina  is  shown,  even  better  than  in  small  models.  With  Plastina  the 
largest  models  can  be  executed  hollow  ;  and  as  it  contains  no  water  that  can  evaporate  at  an  ordinary  temperature,  it  is  not  injurious 
to  the  health.  Two  precautions  only  are  required,  viz.;  1.  To  wrap  the  iron  supports  of  models  in  paper.  2.  To  brush  the  mould 
with  oil,  instead  of  soap.  Finally,  I*lastina,  while  excluding  all  the  disadvantages  of  the  modeling  process  connected  with  the  use 
of  clay,  preserves  and  enhances  all  its  advantages.  Per  lb.  60  ets. 


84 


c.nnnnKKE  gp  MiiwAUKEE^ip  cmcK^Oj^ 


No.  4037— Section  of  Carvers'  Table, 
showing  Screw. 


No.  4041— Hand  Screw. . .  .10  in.,  30c. 
12  in  ,  40c.     14  in.,  50e. 


No.  4038— Clamp...  2J  in.,  25c.     4  in.,  45c.    6  in.,  70c. 


No.  4039— Oil  Stone  . .  .40c. 


No.  4042— Carvers' Punch...  30c. 


No.  4040- Oil  Stone  in  Mahogany  Case  . .  .$1.00. 


No.  4043— Knife  used  for  Kerbschnitt,  Blade,  2i  in 50c. 


Bead  preface  before  ordering. 


M 

^^V 

^ 

E^-^ 

■9^^^ 

'3 

/^ 

\ 

V' 

y/ 

JSL^  ^ 

J|^ 

C  ^ 

/A^^     > 

<F 

x^ 

v^^^^ 

\^^ 

vS 

^^n^ 

^ 

/^ 

^ 

W>C/ 

^ 

^  ( 

^^^^ 

9 

^^ 

M 

k/>VV 

Vi 

vr\ 

This  illustration  is  a  sample  of   Kerb- 
schnitt described  on  page  xlix. 


No.  4045— Set  of  Six  Carving  Tools. . .  .$1.50. 

These  Tools  are  forged  from  best  quality  of  Steel,  and  are  sharpened 
ready  for  use.    They  have  rosewood  handles  and  are  put  up  in  walnut  boxes. 


GLASS! GAL  SIATUARY.  BUSfS  ^^MSDELSjs 


85 


ADDIS  LONDON  CARVING  TOOLS' 


4046         4047  4048 


4049 


4050 


4051 


4053 


4053 


4054 


4055 


4056 


4057 


Inches. 

Inches. 

Inches. 

Inches. 

Inches. 

Inches. 

Nos. 

y^ 

^ 

y^ 

y^ 

1 

134 

Per  doz. 

Per  doz. 

Per  doz. 

Per  doz. 

Per  doz. 

Per  doz. 

4046  and  4047 

1  4  80 

$  4  80 

$  5  60 

f  6  40 

1  6  80 

1  9  30 

4048, 

4049,  4050,  4051,  4052,  4053,  4054 

5  60 

5  60 

6  60 

7  40 

7  80 

10  80 

4055 

6  40 

6  40 

7  30 

9  60 

11  30 

16  00 

4056 

6  40 

7  30 

9  60 

11  20 

12  80 

19  30 

4057  and  40.58 

6  80 

6  80 

7  60 

10  40 

13  00 

16  00 

4059 

6  80 

8  40 

10  10 

13  00 

14  40 

19  00 

4060 

6  00 

6  00 

6  00 

8  40 

10  10 

14  40 

4061,  4063,  4063 

6  80 

6  80 

7  60 

HI  40 

13  00 

16  00 

4064 

6  80 

8  40 

10  10 

13  00 

14  40 

19  20 

4065  and  4066 

8  40 

10  10 

13  00 

16  40 

20  40 

4067  and  4068 

9  30 

11  20 

13  80 

>>  >  > 


4058 


4059 


4000 


4061 


4062 


4063 


4064 


4065 


4066 


4067 


4068 


cnennEGKEeo  MiLWAUKEE^iPcnie/^o^ 


ISJ 


ISJT^ 


© 


Manual  Training  and  Industrial  Education Ill — XIII 

Art  Education... XIV— XVIII 

Drawing XIX— XXX 

Modeling XXX— XXXVI 

Clav  Modeling XXXVI— XXXVllI 

The  Development  oftiieVase .....XXXIX— XL 

Greek  Pottery X^-XLII 

Wood  Carving....... XLIII— XLIX 

Original  Composition L 

Grecian  Mythologv LI — LVI 

Biographical  and  IVIytliological  Notes LVII — LXX 

Models  for  Drawing 1 —  5 

Conventional  Leaf  and  Flower  Forms 6 — 15 

Flowers  and  Fruit 10—19 

Historic  Ornament 2(1 — 25 

Reliefs,  Panels  and  Vases 26 — 29 

Tlie  Five  Orders  of  Architecture 30 — 31 


Historic  Ornament 32 — ^33 

Hands  and  Arms 34 — 38 

Feet  and  Legs 39 — 40 

Eyes,  Ears,  Mouth,  Nose 41 

Torsos 42 13 

Human  Figure — Anatomical 44 

"  "     —Masks,  Reliefs 4-5—19 

Animals .50 — 52 

Busts 53— i5.5 

Animals hC — 58 

kStatuary .5!) — 74 

Pedestals  and  Brackets 7,5 — 76 

Casts  for  Study  of  Modeling 77 

Vases 78 — 79 

Materials  for  Modeling 89 — 83 

"  "    Wood  Carving 84 — 85 


11^ 


:x: 


To  Illustrations,  and  Catalogue  of  Casts,  Busts,  Statues,  Groups,  and  Materials 

named  in  "Art  Studies." 


No.  Name.  Height,  In. 

30(XJ— Tetrahedron 5J 

30(!1—  "  3i 

3002— Cube 7 

3(X)3—    "    4 

3004— Triangular  Prism 10 

3005—  "  "     6J 

30W5— Square  Pyramid 10 

3007—      "  "  "        7 

3008— Oblique  Pentagonal  Pyramid 12 

300<t—        ''  "  ■    "        8 

3010— Pentagonal  Pyramid 10 

3011—         "  "        7J 

3012— Hexagonal  Pyramid 10 

3013—  '^  "       7 

3014— Triangular  Pyramid 10 

301.5—  "  "       7} 

3016 — Hexagonal  Prism 10 

3017—  '^  "      6} 

3018— Cone 11 

301!)—    "    8 

302(^— Cylinder 10 

3021—        "        4 

3022 — Cube  with  depression  for  sphere 7 

3023—    "        "  "  "        "      4 

3024— Octahedron 8 

3025-  "  5J 

3026— Sphere 7 

3027—      "      4 

3028 — Hemispheres  (two) 5 

3029— Icosahedron 7i 

3030—  "  (> 

3031— Divided  Hollow  Cylinder 8 

3032— Spool 8 

303:V-Double  Frustum 9 

3034 — (>oss,  St.  .\ndrews,  or  St.  Patrick's 8 

303,5— Wheel 12 


Price.  No.  Name.  Height,  lo.  Price. 

30  3036— Flight  of  Three  Steps 8  75 

20  30:W— Boitand  Nut 8  60 

60  3a^8— Prolate  Spheroid 6i  60 

40  30;«)— Sheave 5  60 

60  3040— Bracket 10  75 

40  3041— Double  Cross 8  80 

60  3042— Ring,  Annulet : 8  60 

40  3ai3—Oblong  Slab  with  depression SJ  50 

75  3044— Part  of  Ellipsoid,  relief. 8  40 

4f)  301-5— Oblong  witli  beveled  edges,  relief. 8  40 

60  3046— Divided  Square  Pyramid. 8  40 

40  3047— Cone  in  relief. 8J  40 

60  3(M8— Five-pointed  Star 8  50 

40  3049— .\corn  in  capsule 8  60 

60  3050— Battie-ax 8  70 

40  3051 — Part  of  Ellipsoid,  relief  and  mould 75  Per  pair,  75 

60  3052 — Prismatic  Cfrystal,  relief  and  mould 7|  "         75 

40  3053 — ('one,  relief  and  mould 7|  "         75 

60  30-54 — Ellipsoid,  relief  and  mould 7*  "         75 

40  3055 — Hexagonal  Pyramid,  relief  and  mould...  7J  "         75 

60  3056 — Hemisphere,  relief  and  mould 7i  "         75 

30  3a57— Nine  Cubes  on  Slab 9"  75 

60  ,3058— Cross  inside  of  Cube 9  80 

30  3059— Ball  Ornament 9  80 

60  3060— Annulet  and  Drop 9  80 

30  30<)1 — O088  with  beveled  edges  (a) 7i  50 

60  .30()2— (;up  with  Sphere 9  80 

30  30(W— Ring  with  Cone 9^  80 

60  30<>4— Cross  with  beveled  edges  (b) 11  70 

60  30(>5— Eiglit-pointed  Star 9  80 

40  3066— Gothic  Quatrefoil  (a) 7J  50 

60  3067—      "      Trefoil 7|  50 

60  30<)8—      "      Rosette,  Wood  Carving  from  choir 

60                             stall  at  Maulbronn 8  ,50 

60  3069 — Six-pointed  Star,  mould  and  relief 5    Per  pair,  75 

125  3070— Gothic  Quatrefod  (b) 7J  50 


|uj:(YBRsiTr] 
GLASSICAL  SlAfUARY.  BUSfS  ^^IAQDELSa'^'P 


No.  Name.  Height,  in.  Price. 

;W1— Octagon,  relief  and  mould 7j 

:W72 — Conventional  Ivv  Leaf. 9J 

807:^—  "  Leaf  Form 9J 

SOU — Annulet  and  Sphere 8 

M075— Rosette,  From  choir  stall  at  Maulbronn..  8 

S07(i— Conventional  Fig  Leaf  Ornament 8 

;H077 — Band  Ornament 8 J 

o078 — Carviu}.',  p^lizabethan  Ornament 8} 

H07!)— Octofoil » 

;W80— Conventional  Leaf  Form 9* 

8081—  "  "         "      9| 

3082— Moulding 8J 

808;^- Palmetto  Ornament  (a) 9j 

80fU—        "  "  (b) 9J 

8085— Leaf  Ornament 9j 

8086 — Conventional  Bud  and  Leaf  Ornament  (a)  9j 

80.S7—  "  "       "        "  "         (b)  9J 

8088— Acanthus  Leaf 12 

8089 — Conventional  Leaf  Ornament 12 

8090—  "  "  "        9i 

8091—  "  "  "        12 

8092—  "  Flower 9i 

80i)8—  "  "      9} 

8094—  "  "      9i 

8(J9.5—  "  Rose  (a) 9 

8096—  "  Flower 9 

8097—  "  Rose  (b) 9 

8098—  "  Flower 9 

8099 —  "             Ornament,    Fragment    of 
Roman  Frieze 15J 

3100 — Conventional  Flower 9 

3101—  "  "      Pond  Lilv 9 

3102—  "  Palm  Leaf ". 8 

810:5 — Arum  Leaf,  natural 5J 

3104 — Conventional  Fig  Leaf. 7 

3105—  "  Leaf 9i 

3106—  "  Flower 9 

8107—  "  Leaf. 9 

3108—  "  Rose  Leaf. 9 

3109 — Architectural  Ornament 11 

3110—  "  "         lOJ 

3111 — Conventional  Leaf 10 

3112 — Jlgyptian  Lotus  Leaf  and  Buds lOJ 

3113 — Conventional  Palm  Leaf. 10 

3114—  "  Clover  Leaf 10 

3115—  "  Fig  Leaf. 7J 

3116— Acanthus  Leaf 12 

3117 — Roman  ornament,  Honeysuckle 17J 

3118— Bud llj 

3119 — Leaf  Ornament,  Modern 12 

3120— Bud  of  Poppy 9 

3121 — Indian  Corn,  Conventionalized 12 

2122 — Ornament,  Fragment  of  Roman  Frieze...  17 

312;} — Conventional  Sprig 12 

3124 — Ornament,  Fragment  of  Roman  Frieze...  19 

3125 — Roman  Acanthus  Ornament 1.5J 

312(i — t'onventional  Leaf  Form 12 

8127— Pear 7 

8128— Orange  7 

3129—      "        7 

8130— Lemon 7 

3131— Citron  7 

8182— Quince 7 

3I3;5 — Pomegranate 7 

8134— Apple 7 

31:35— Potato 7 

3i:i6 — Cocoanut 7 

8187 — Conventional  Loaf. 12 

8i:58— Palm  Leaf  Scroll  Ornament 10} 

81:59 — C(jnventional  Ornament 12 

8140— Scroll  Ornament 12} 

8141 — Leaf  Ornament 12 

8142 — Architectural  Ornament 10} 

3143 — Modern  Ornament,  Scroll 12 

3144— Natural  Leaf. 12 

3145— Hop  Leaves 11} 

3146— Natural  Leaf  Form 9 

3147— Oak  Leaf. 10 

3148 — Virginia  Creeper,  reverse 14 

8149—        "  "         obverse 14 

31.50— Currant  Leaf. 8A 

3151— Chestnut  Leaf. lU 

:il.52— Twigof  Oak 16} 

81.53 — Geranium  Leaf. 9i 

:!1.54— Bomiuet  Bracket 13' 

815.5 — (Janna  Leaf,   natural 1.5} 

815<) — Plantain  Leaf,  natural ]7| 

3157 — Ornament  from  Trajan  Column 23  3  00 


Per  ]iair,  75 

75 

80 

60 

50 

75 

60 

60 

75 

75 

75 

60 

60 

60 

60 

60 

80 

1  00 

80 

80 

75 

90 

1  00 

90 

90 

75 

75 

75 

2  50 

90 

80 

60 

60 

40 

60 

75 

60 

60 

50 

60 

75 

60 

60 

50 

50 

75 

1  25 

90 

1  00 

75 

1  25 

2  00 

90 

2  .50 

1  25 

75 

50 

50 

50 

50 

50 

50 

50 

50 

50 

50 

75 

90 

90 

1  20 

80 

90 

1  00 

1  00 

1  00 

60 

75 

1  50 

1  50 

60 

90 

1  25 

60 

1  25 

1  25 

1  30 

No.  Name.  Height.  In. 

3158 — Dandelion  Leaf,  natural '>0i! 

:515»— Thistle  Leaf  natural 19' 

81(iO — Ornament,  Renaissance  19} 

3161— Leaf  Form u 

3162— Modern  Scroll  Ornament 171 

31(«— Lizard 5' 

31(>4— Frog r, 

316.5— Water  Adder 15 

31()«— Strawberrv  Leaf. r>? 

:5167— British  Oak  Leaf 18 

3168— Rose  Leaf. 7} 

316!)— Ornament,  Grapes,  Leaves  and  Fruit 22 

3170 — Lotus  Ornament 21 

8171 — Scroll  Ornament,  Leaf,  Bud  and  Fruit....  22 

8172 — Burdock  Leaf  (natural),  obverse 16} 

817:> — Geraniumand  Aconitum  Leaves  (natural)  11} 

:5174 — Burdock  Leaf  (natural),  reverse 16} 

;5]75 — (Jhestnut  Leaf. i(i 

8176 — Acanthus     Leaf,    from    a    Roman    can- 
delabra   23 

3177— Chestnut  Leaf 20 

3178 — Leaf  Ornament,  Renaissance 24 

3179 — Apples,  sprig 13 

3180 — Apples,  small  sprig 12 

3181 — Pomegranates,  sprig 17 

3182— Pears,  sprig 11} 

3183—    "  "     large 11} 

3184 — Apples,  sprig n' 

:5185— Figs,  sprig 17^ 

3186 — Apples,  sprig 14 

3187 — Quince,  sprig 18} 

3188— Pears,  sprig 14 

3189— Crab  AppleS;  sprig 14} 

3190 — Peaches,  sprigs 17} 

;5191 — Oranges,  sprig 12' 

3192— Grapes  and  Lizard 15 

3193— Figs,  sprig 11} 

3194 — Pears,  sprig 17} 

3195 — Geranium  Leaf. 10 

3196— Grape  Sprig 10} 

3197— Grapes 17} 

3198 — Bouquet  of  Roses,  Daisies  and  Lilacs 10} 

3199— Arum  Lily  and  Leaf. 9? 

;5200 — Bouquet  of  Roses  and  Carnations 10} 

3201— Tulip 14 

:5202— Grapes  and  Birds 10} 

3203— Rose  Spray 11 

;5204— Tiger  Lily m 

3205— Faith,  Hope  and  Charitv 27' 

;5206— Sunflower ". 17} 

:5207 — Sijrav  of  Roses 17I 

:5208— Convolvulus 12' 

:520i)— Tulip 18 

:5210— Hollvhock 17} 

;5211— Roses  and  Fuchsia 28' 

.3212 — Daisies,  Poppies  and  Pansies 17i 

:i2i;5— Pond  Lilv 15" 

:5214— Poppy....'. 25 

;521 5— Egyptian  Lily 15} 

3216 — Acanthus  Leaf,  Italian  Reiuiissance 22} 

3217 — Sepulchral    Monument,   Italian    Renais- 
sance, in  three  sections :54 

15218 — Leaf  Ornament,  Renaissance 12 

15219 — Scroll  Ornament,  Modern  Renaissance...  12 

3220 — Ornament,  Modern  Renaissance 12 

3221—  "  "  "  16 

;5222—  "  "  "  2U 

3223—  "  "  "  16' 

3224 — Oak   Leaf   Ornament,   Modern    Renais- 
sance   21} 

3225 — Ornament,  Italian  Renaissance 22 

3226 — Acanthus    Leaf    Ornament,  Italian   Re- 
naissance   17 

3227 — Scroll  Ornament,  Modern  Renaissance...  17 
8228 — Oak   Leaf  Ornament,    Modern     Renais- 
sance..   22 

;5229 — Conventional  Ornament,  Modern 22 

3230— Rose  Rosette 14 

;5231 — Greek  Anthemion,  Antefi.x  to  Parthenon.  20} 

:52:!2 — Rosette,  Roman 14 

8283 — Rosette,    from     Fragment     from    Villa 

Medici,  Rome 14 

3234— Thistle  Bracket 15 

3235 — Carved     Leaf    Ornament,    from     choir 

stall  at  Maulbronn,  Early  Gothic 12 

3236— Rosette 14 

3237— Greek  Ornament 15} 

323&— Rosette  from  Pilaster,  Villa  Medici-Rome  12 


Price. 

1  30 

1  :50 

2  25 
1  25 
1  2;5 

25 

35 

1  25 

■W 

1  75 
(50 

2  .50 
2  75 

2  .50 

1  :w 

90 

1  :50 

1  75 

1  75 

3  00 

2  25 
"  h 
1  00 
1  25 
1  00 
1  00 
1  00 
1  25 
1  00 
1  25 
1  25 
1  00 
1  25 
1  00 
1  50 
1  00 
1  50 

75 
75 
1  25 
1  00 
75 
1  00 
1  00 
1  00 
1  00 
1  25 

3  00 
1  25 
1  25 
1  00 
1  25 

1  25 

2  .50 
1  25 

1  50 

2  75 

1  50 

2  75 

5  00 
90 
90 
80 

1  25 

2  25 

1  25 

2  25 
2  50 

1  25 

1  50 

2  25 
2  25 
2  25 
2  75 
2  25 

2  25 

1  25 

2  00 
2  25 
2  00 
2  25 


88 


cnennECKE  G9  Milwaukee *is  enie/^o^ 


No.  Name.  Heisrht,  In. 

3239— Bracket,  Modern 29 

3240 — Grape  Leaf  Scroll,  relief  carving 17 

3241— Gothic  Rose  Window 8J 

3242—  "  "  "       8^ 

3243—  "  "  "       8j 

3244 — Ornament,     piece     of    AV^ood   Carving, 

Modern  Renaissance 25 

3246— Vase  by  Lienard,  Paris 22 

3246— Gothic'Rose  AVindow 10 

3247— Moulding 11 

3248 — Echinus  with  Pearl  Beading 11 

3249 — Leaf  Scroll  Ornament,   Renaissance 17 

3250—  "         "  "  "  12 

3251—  "        "  "  "  17 

3252— Greek  Fret  Moulding 11 

3253— Scroll  Ornament  Moulding II 

32.54— Acanthus  Leaf  Moulding... 11 

3255— Moulding 11 

3256— Guilloche  Moulding 11 

3257 — Leaf  bud  on  ogee   moulding,    Lesbian 

cymatum 11 

3258— Double  Twist 11 

3259— Moulding,  with  Leaf  and  Rosette 11 

3260— Moulding,  with  Spray  of  Flowers 11 

3261— Flower  and  Fruit  Moulding 11 

3262— Relief,  St.  John,  by  Donatello 21 

326:3— Wreath 16 

3264— Relief,  St.  Cecilia,  by  Donatello 21 

3265—     "  "  "  9 

3266 — Boy  Musicians,   Relief  by   Luca    Delia 

Robbia 11 

3266-1— Boy  Musicians,  Relief  by  Luca  Delia 

Robbia 41i 

3267— Singing  Boys,  Relief  by  Luca  Delia  Robbia  20 

3267-1—  "  '^  "  "  "  40f 

3267-2—"  "     withScroll,  Relief  by  Luca 

Delia  Robbia 40| 

3267-3— Singing  Boys,   with    Scroll,  Relief  by 

Luca  Delia  Robbia 20 

3268 — Playing  and  Dancing  Boys,    Relief  by 

Luca  Delia  Robbia 11 

3268-1 — Playing  and  Dancing  Boys,  Relief  by 

Luca  Delia  Robbia.. 41J 

3269— Spring,  by  Pigghi,  Paris 18 

3270 — Symphony,  by  Ernst  Haehnel 17 

3271 — Autumn,  by  Pigghi,  Paris 18 

3272 — Summer,  by  Robbia 10 

3273 — Cupids,    by  Francois    du    Quesnoy,   (II 

Fiammingo) 39 

3274— (Given  as  No.  3247)— Winter,  by  Robbia,  10 

3275— Owl,  Night 26 

32,6— Spring,  by  Robbia 10 

3277— Autumn,        "         10 

3278— Owl,  Day 26 

3279— Stork,  Panel  (a) 25 

3280— Game 20 

3281— Fish 20 

3282— Stork,  Panel  (b) 25 

3283 — Moorish  Ornament  from  the  Alhambra...  16 

3284—  "  "  "        "  "         ...  15A 

3285-  "  "  "       "  "        ...  15| 

3286 — Silver  Drinking  Cup,  German 8| 

3287 — Moorish  Ornament  from  the  Alhambra...  15i 

3288— Vase  de  Medici 16" 

3289— Modern  Vase 16 

3290— Cellini  Vase 18 

32<J1— Modern  Vase 16 

3292 — Grotesque,  Modern  Wood  Carving 22 

3293— Encarpa,  Wreath 17J 

3294— Ornament,  Wood  Carving,  Panel 25 

3296 — Fragment  from  Roman  Frieze 30 

3296— Grotesque,  Italian  Renaissance 17i 

3297— -Ornament  from  Frieze  Notre  Dame,  Paris  39 

3298^0rnament,  Wood  Carving,  Renaissance...  26 

3299— Entablature  and  Capital,  Composite  order  19 

3300—  "  "  "       Corinthian    "  19 

3301—  "             "          "        Doric              "  16 
;i302— Base  and  Pedestal,  Comi)Osite  order 18 

3303—  "      "  "  Corinthian      "     18 

3304—  "      "  "  Doric  "     16 

3305— Entablature  and  Capital,  Ionic  order 16 

3306 — Base  and  Pedestal,  Ionic  order 16 

3307 — Entablature  and  Capital,  Tuscan  order...  16 

330a-Base  and  Pedestal,  "  "     ...  16 

33C9— Capital,  from  Portal  St.  Maria  de  Mira- 

coli,  Venice — Italian  Renaissance 18 

3310— Capital  of  Pilaster,  Palace  Vecchio,  Flor- 
ence— Italian  Renaissance 11 


Price. 

2  50 

2  50 

1  00 

1  00 

1  00 

2  75 

3  50 

1  50 

80 

80 

1  25 

90 

1  25 

80 

80 

80 

80 

80 

80 

80 

80 

80 

80 

3  50 

1  75 

4  00 

1  00 

1  50 

18  00 

4  50 

12  00 

12  00 
4  50 
1  50 


.8  00 

2  50 

3  00 

2  50 

75 

6  00 

75 

1  50 

75 

75 

1  50 

1  50 

2  .50 

2  60 

1  50 

1  50 

1  50 

1  50 

1  .50 

1  50 

3  00 

3  00 

3  00 

3  00 

3  00 

1  25 

2  50 

3  50 

1  50 

3  50 

3  (X) 

3  75 

3  76 

3  76 

3  75 

3  75 

3  75 

3  75 

3  75 

3  75 

3  75 

4  CO 

2  00 

No.  Narap.  Height,  in. 

3311 — Capita]   from  Temple  Church,  London, 

Gothic 1.5J 

3312 — Capital  from  Stone  Church  in  Kent, Gothic  172 

3313 —  "      Italian  Renaissance 18 

3314—  "  "  "  18 

331.5—      "  "  "  Ml 

,3316—      "       Byzantine 8 

3317— Griffin 18 

.3318—      "      18 

.3319 — Gothic  Panel,  from  Church  in  Bonn 21 

3320 — Fragment  from  the  Ercchtheum 26 

3321 — Roman   Acanthus  Ornament,   from   tlie 

Palace  Mattel,  Rome 23 

3322— Bas-relief  from    Church   St.   Maria    dei 

Miracoli — Italian  Renaissance 24 

3323— Greek  Moulding 28 

.3324— Ornament  from  the  Villa  Medici,  Rome..  33 
332-5 — Fragment  of  a  Roman   Frieze,  in  three 

sections 40 

3326 — Fragment  of  an  Ancient  Roman  Frieze, 

•.n  three  sections 40 

3327 — Roman  Acanthus  Leaf  Ornament 25 

3328—      "  "  "    19 

3329— From  the  Gates  of  the  Baptistery,  Flor- 
ence, by  Lorenzo  Ghiberti,  in  three 

sections 38 

3330— Hand,  open 10 

33.31— Hand,  holding  scroll 12 

3332— Hand  of  Female 9 

3333— Hand  of  Male 12 

3334— Arm  and  Hand  of  Child 10 

333.5— Hand  of  Child 6 

3336—    "       "       "     7 

33.37 — Right  Female  Hand,  with  pen 11 

3338— Hand 11 

3.339— Hand,  grasping  staff. 10 

3340— Upturned  closed  Hand 9 

3341— Right  Hand  of  Infant 6 

3342— Left  Hand  of  Girl 6 

3343— Hand  of  Infant,  left 7 

3344— Bov's  Hand,  left 8 

334.5— Right  Hand  of  Youth 11 

3346— Child's  Hands  crossed 5J 

3347— Girl's  Left  Hand 10 

3348 — Left  Male  Hand,  with  fingers  turned  in- 
ward   10 

a349— Boy's  Fist 7 

33.50 — Child's  Hand,  grasping  apple 5 

33.51—     "  "  '^         rod 6 

3352 — Left  Hand  of  Youth,  grasping  rod 7 

33.53— Right  Hand  of  Male,        '^      "    "  12 

3354— Right  Hand  of  Infant,      "         foot 6 

335.5 — Right  Hand,  pointing 11 

.3356 — Hands  placed  upon  each  other 10 

33.57 — Left  Hand  grasping  lightly 12 

3358 — Right  Arm  of  Child  placed  on  breast 8 

3359— Left  Hand  of  Girl 12 

3360— Right  Hand  of  Youth  grasping  rod 15 

3361— Child's  Hand 6 

3362 — Right    Hand    holding    marble   between 

thumb  and  second  finger 12 

.33a3— Male  Hand   held  upright 16 

3364 — Right  Hand,  anatomical 11 

336.5 — Left  Hand  of  Youth,  grasping  stone 12 

3366— Left  Hand  of  Bov 10 

3367— Hand  of  Child,  open 6 

3368— Right  Hand 12 

3369 — Female  Hand,  arm  raised 9J 

3370— Boy's  Hand 7j 

3371 — Female  Hands,  crossed 12 

3372 — Left  Hand,  grasping  rod 12 

3373 — Grasping  Hands,  Youth  and  Infant 8 

3374— Right  Hand  of  Child 10 

3.375— Hand  holding  Apple,  upright  position....  12 

3376 — Left  Hand,  place<t  on  open  book 12 

3377 — Left  Hand,  without  l)ook 10 

3.">78 — (;ias])ed  Hands  of  Child 6 

3:)79 — Left  Female  Arm,  bent 33 

3380 — Right  F(unale  Arm,  hand  grasping 27 

3381— Right  Female  Hand 13 

3382 — Hand,  holding  pencil 8 

3383 — Clasped  Hantfs 7 

3384 — Bov  s  Hand  and  Fore  Arm 11 

338.5— Child's  Hand 6 

3386 — Infant's  Hand,  closed 5 

3387 — Clasped  Hands  of  Infant 5 

3388— Right  Female  Hand 8i 

3389— Left  Female  Hand lOJ 


Price. 


2  50 

4  (K) 

1  50 

4  ftO 

2  50 

1  25 

1  75 

1  75 

3  50 

3  50 

3  00 

3  75 

2  75 

3  .50 

4  00 

4  50 

3  00 

2  50 

3  50 

1  25 

1  25 

90 

1  25 

90 

60 

60 

1  00 

1  1-5 

1  00 

1  00 

50 

60 

.50 

80 

1  00 

90 

1  00 

1  25 


.50 
50 
60 
.50 
75 
(K) 
25 
25 
25 
00 
25 
,50 


25 

00 
00 
25 
25 
60 
25 
.50 
76 
20 
25 
50 
90 
50 
50 
00 
00 
50 
.50 
1  00 
76 
1  25 
1  00 
.50 
60 
60 
1  00 
1  00 


GLASSICAL  SlAfUARY.  BUSfS  ^A^AQDELS^ 


89 


No.  Name.  Height,  in. 

3390— Right  Hand,  holding  pencil 8 

;«91— Loft  Hand,  bent  at  wrist 8 

;>^92— Upturned  Child's  Hand 5 

3393— Left  Hand,  placed  on  wrist  of  right  hand  11 

3394 — Right  Female  Arm,  hand  upturned 27 

3395 — Male  Hand,  grasping  female  hand 13 

3396— Arm  of  Youth,  bont. 30 

3397— Outstretched  Right  Arm  of  Youth 30 

3398— Outstretched  Right  Arm  of  Youth,  finger 

pointing  35 

3399— Right  Hand. 13 

3400— Left  Arm  of  Female 18 

3401 — Right  Arm,  showing  layers  of  muscles....  33 

34(I2 — Left  Male  Arm,  placedagainst  breast 17 

3403 — Hand  of  the  Farnese  Hercules 25 

34(J4— Left  Hand  of  Female 21 

34ft5— t'hild's  Right  Foot 6 

340()— Youth's  Left  Foot 9i 

3407— Child's  Left  Leg 12 

3408— Foot  of  Child 5 

3409— Right  Male  Foot,  heel  raised 10 

3410— Right  Foot  of  Youth 9* 

3411—    '^  "       Boy 7i 

;M12— Legs  of  Child 10 

3413— Child's  Leg,  bent  at  knee 18 

3414— Left  Foot 10 

;H415 — Infant  Legs,  crossed 17 

3416 — Anatomical  Leg 30 

:i417— Left  Leg,  heel  raised 23 

3418— Anatomical  Foot,  right lOJ 

3419 — Feet  crossed 11 

3420— Right  Foot  stretched  forward 11 

.•M21— Left  Foot  of  Fighting  Gladiator 13 

3422— Left  Foot  with  heel  raised 12 

3423— Right  Foot  of  Fighting  Gladiator 13 

;>124 — Foot  of  Farnese  Hercules 22 

3425— Right  Foot  of  Male 12 

3426 — Foot  from  Apollo  Belvidere,  heel  raised..  13 

:U2-—    "       "  "  •'  "         "  13 

3428 — Antique  Foot,  heel  raised 15J 

3429— Eve 7 

:«30—  '"'   8 

:M31— Mouth 5 

;M32 — Ear,  colossal 6 

:«:«-  "  "       7 

34:H— Mouth 5 

3436— Eye 5 

3436 — Face,  side  view 9 

3437— Mouth 5 

3438— Right  and  Left  Ear,  colossal 10 

3439— Right  and  Left  Ear 5 

3440— Mouth,  from  Statue  of  David 6 

3441— Right  Eye,  from  M.  Angelo's  David 7} 

3442-7-Nose,  from  M.  Angelo's  David 7J 

3443— Left  Eye,  from  M.  Angelo's  David 7J 

3444 — Front  view  of  Female  Bust 12 

3445 — Arms  of  Child  crossed  over  breast 15 

3446— Male  Breast 21 

.3447 — Side  view  of  Torso  of  Hermes 24 

3448 — LowerExtremities  of  Male,  by  M.  Angelo,  13 

3449— Female  Torso 18 

34-)0_      i'  "    ^ 21 

3451— Illyssus'  Torso.!.".".'.!'.....!'.!!!.'.'".'.'.'.'.".".."!!!!"  23 

,3452— Back  view  of  Male  Torso 31 

3453 — Female  Chest 14 

3454 — Narcissus,  (mutilated  statue) 25 

345.5 — Laocoon,  (mutilated  statue) 21 

34-56 — Theseus  or  Idaean  Hercules,  (mutilated)  28 
3457 — Hercules    Torso    of   the    Belvidere,   hy 
Apollonius  of  Athens,  in  the  Vati- 
can, (mutilated) 12 

34.58 — Genius  of  the  Vatican,  'Centocelli'  Cupid, 

Eros,  (mutilated) 40 

3459 — Farnese  Torso 19 

3460— Psyche  Torso,  at  Naples 39 

3461 — (Uierub,  Floating  in  Air 12 

3462—  "      Balancing. 14 

3463—  "      Climbing 1] 

34(54 — Anatomical  Foot  of  Horse 13 

3465 — Head,  showing  Muscles  of  Face  and  Neck  18 

34a5-l— Anatomical  Bust 24 

3466 — Anatomical  Horse 13J 

3467 — Bust  showing  layers  of  Muscles 26 

3468 — Anatomical  Figure,  by  M.  Angelo 10 

34ti9—         "  ^'        of  Human  Body 40 

.3470—         "  "  "  "      72 

3471-Head  of  Child,  (a) 8 

3472— Sleeping  Cupid,  Head UJ 


75 

80 

50 

1  50 

2  00 

1  50 

2  00 

2  50 

250 

1  80 

1  50 

2  50 

4  00 

3  50 

2  50 

60 

1  25 

1  00 

50 

1  25 

1  25 

1  (K) 

1  50 

2  00 

1  00 

2  50 

2  50 

2  00 

1  25 

1  35 

1  00 

2  00 

1  70 

2  00 

3  50 

1  50 

2  00 

2  00 

2  50 

50 

50 

40 

50 

60 

50 

40 

1  50 

40 

1  00 

60 

50 

60 

60 

60 

1  50 

2  00 

2  50 

3  00 

1  .50 

2  00 

3  (X) 

4  00 

4  50 

3  00 

4  50 

2  50 

6  00 

1  25 


12  00 

4  00 

12  00 

1  50 

2  50 

1  50 

1  50 

3  00 

7  00 

4  (H) 

7  50 

1  75 

9  00 

50  00 

1  25 

1  50 

No.  Name  HelKht,  In 

3473— Head  of  Child,  (b) 8 

3474-        "         "        _(c) 9 

3475 — Group  of  Infant  Heads 20 

3476— Head  of  Child,  (d) 9 

3477—        "         "         (e) 10 

3478 — Head  of  St.  John,  from  the  'Crucifixion' 

by  Rubens 14 

3479— Head  of  Child,   f) n 

3480-        "         "         (g 9 

3482— Head  of  Child  (i). !!!!!!!!!!.'!!!!!!!!!!!!!!!!!!!!!!!!  9 

348:}-     "          "    (j) 10 

3484 — Mask,  Lorenzo  de  Medici 15 

3485 — Relief,  Marcus  Antonius 9 

3486— Mask,  Female 8J 

3487 — Relief,  Cvme,  Queen  of  the  Amazons 9 

3488— Eros  Bust 15 

3489— Head  from  Frieze  of  Hospital  Pistoja 12 

3490 — Relief,  Jeremias 14 

3491— Head  from  Frieze  of  Hospital  Pistoja 12 

3492— Relief,  Seneca 14 

3493— yEschylos,  Mask 14 

3494— Augustus,        "     13 

;«9.5— Ajax,               "     18 

;?496— Antinous,        "     13 

3497— Agrippa,         "      15 

3498— Caligula,          "     19 

3499— Canova,           "     14 

3500— Christ,  Mask,  on  Pedestal,  by  M.  Angelo  24 

3501— Cicero,     "     14 

3502— Clytie,      "     14 

3503— Dante,      "     9 

3504— David,      "     by  M.  Angelo 20 

3505—  "           "           "       on  Pedestal 30 

3506—  "           "           "       24 

3507 — Demosthenes,  Mask 14 

3.508— Diana,                   "     15 

3509— Diomede,              "     16 

.3510 — Discobolus,  Naucydes,  Mask 13 

3511— Dying  Warrior,                  "     13 

3512 — Euripides,                           "     15 

3513— Fighting^Gladiator,            "     16 

3514— JulianoDe  Medici,            "     16 

351.5— Juno  Capitol,                      "     13 

3516— Jupiter,                                "     28 

3517— Madonna,                            "     14 

3518— Mercury,                               "     14 

3519— Minerva,                              " 14 

3520— Moses,                                 '•     19 

3521— Nero,                                    "     14 

3522-Niobe  Daughter,                 "     13 

3523— Nubian  Girl,                       "     12 

,3524— Psycho  of  Naples,              "     12 

3525 — liafael  Dorbino,                  "     13 

:i526— St.  Francis,                          "     14 

3527 — St.  Jerome,    ,                     "     16 

3528— Socrates,                              "     15 

,3529— Sophocles,                           "     15 

3.530— Spartacus,                           "     13J 

3531— Venus  Aries,                      "     16 

3532—  "       Bath,                      "     12 

3533—  "       Capitol,                  "     14 

3534—  "       Capua,                    "     14 

3535—  "       Cnidos,                   "     12 

3536—  "       Medici,                   "     12 

3537—  "       Milo,                       "     12 

3538—  "      Thorwaldsen,         "     13 

3539— Voltaire,                              "     13 

3540— Beethoven,  Mask 9 

3541— Dante,              "      8 

3542— Brutus,             "      22 

3543— Laocoon,          "      14 

3544— Niobe,              "      12 

354.5— Zeus  or  Jupiter,  Bust 22 

3546— Lucius  Veriis,  Mask 15 

3547— Omphale,             "    13 

3548— Dying  Alexander,  Mask 22 

3549— Apollo  Belvidere,       "      15 

3550— St.  Jerome,                  "      16 

3551— Vitellius,                     "      15 

3552— Slave,  by  M.  Angelo,  "      15 

3553— Agrippa,                      "      18 

3554— Myrina,  relief. 14* 

3555— Regulus,      "    14} 

35.56— Alexander  "    12 

3557— Apollo          "     11 

3558 — Dante,  from  Tomb  at  Ravenna,  relief 19} 

3559 — Diana,  relief. 10} 


n.    Price. 

1  25 

1  25 

3  50 

1  25 

1  50 

2  00 

1  50 

1  .50 

1  25 

1  25 

1  .50 

1  75 

1  00 

75 

75 

75 

1  75 

2  00 

2  00 

2  (W 

1  50 

1  00 

2  00 

1  00 

1  .50 

2  00 

1  50 

5  00 

1  25 

1  50 

1  00 

5  00 

10  00 

6  00 

1  50 

1  25 

1  .50 

1  25 

1  25 

1  50 

1  50 

1  50 

1  00 

5  00 

1  50 

1  25 

1  00 

2  00 

1  50 

1  00 

1  25 

1  00 

1  25 

1  25 

2  00 

1  50 

1  .50 

1  .50 

1  50 

1  00 

1  25 

1  25 

1  00 

1  00 

1  00 

1  00 

1  60 

1  00 

1  00 

3  50 

1  25 

1  25 

3  50 

2  00 

1  25 

4  50 

1  25 

2  00 

1  60 

2  00 

2  50 

1  75 

2  00 

1  50 

1  50 

2  50 

1  50 

90 


cfiEnnEeKE  e?  Milwaukee 4?  enie/^o^ 


No.  Name.  Height,  in. 

3560— Caligula,  relief. 14 

3561— Zacharias    "     13J 

3562— Penelope     "    ■■ 13 

3563— Head  of    Female,    relief    from   Trajan 

Column 9i 

3564 — Male  Heads,  relief  from  Trajan  Column  12 

356.5—    "     Head,        "  "  "  "  7 

3566—    "         "  "  "  "  "  8 

a567—    "     Heads,       "  "  "  "  16 

3568— Head  of  Horse,  "  "  "  "  8 

3569— Six  Male  Heads, '  "  14 

3570— Four"         "       "  "  "  "  15 

3571 — Male  Head,  relief  from  Trajan  Column...  9 

3572—  "         "  "         "  "  "  9 

3573—  "         "  "         "  "  "  7J 

3574—  "         "  "         "  "  "  6 

3575—  "         "  "         "  "  "  6 

3576—  "         "  "         "  "  "  9 

3577—  "         "  "         "  "  "  8 

3578—  "         "  "         "  "  "  7J 

35yg II  i<  "  <<  "  "  71 

3580—    "         "  "         "  "  "  10 

3581— Head    of    Horse,    relief    from    Trajan 

Column 11 

3582— Lion  Shield,  by  Donatello 18 

358:>-Lion's  Head 9 

3584— Head  of  Fox 8 

358.5—        "       Eagle  12 

3586—        "       Lioness 6 

3.587— Bacchus  Mask 14 

3588— Head  of  Lion,  Antique 9J 

3589— Grotesque 4 

3590— Lion's  Head 16 

,3591— Swimming  Duck 19 

3592— Medusa  Rondanini,  relief. llj 

3593 — Grotesque 8} 

3593-1— Horses'  Heads,  by  M.  Angelo 4 

3.594— Head  of  Bull 6J 

3695—        "       Wild  Boar 11 

3596—  "       Elephant 9i 

3597—  "       Swine 4i 

3598— Ram's  Head 18 

3599— Head  of  Kid 7 

3600—  "       Setter 5 

3601—  "  "     5 

3602—  "       Ram 9* 

mrs—        "       Lioness 13j 

3604— Lion's  Head 18 

3605— Head  of  Horse 6 

3606—  "  "      9 

3607—  "  "      6 

3608—  "  "     6 

3609—  "  "      12 

3610—  "  "      22 

3611—  "  Dog 5J 

3612—  "  Goat 11 

3613—  "  Dog 5 

3614—  "  Ram 6J 

361.5—    "  Dog 5 

3616—  "  Cat 5 

3617—  "  Fox 8 

3618—  "  Dog 5 

3619—  "  Donkey 6J 

3620— yEschylos Bust,  27 

3621— ^sculapius "  23 

3622—  "         "  11 

3623— Agrippa "  28 

3624— Ajax.... "  36 

362.5-    "    "  26 

3626—    "    "  12 

3627— Amor "  17 

3628— Angelo,  Michel "  28 

3629— Antinous "  27 

36:^0— Apollo "  32 

3631-      "     "  23 

36:^2—      "     "  14 

3g33 "     "  12 

3634— Ariadne.".'..'..".'.".'.."..'.' "  29 

363.5—      "       "  12 

36.S(i—      "       "  10 

3637— Aristotle "  26 

3638— Arrotino "  30 

3639 — Augustus  Caesar  in  Armor "  32 

3640— Augustus  (Youth) "  23 

3041— Bacchus "  30 

3(i42—      "         "  12 

364:}-      "         "  10 

3644— Beatrice "  12 


Price. 

1  75 

1  75 

1  75 

1  00 

1  00 

1  00 

1  00 

1  75 

75 

1  75 

1  75 

1  00 

1  00 

75 

75 

75 

1  00 

1  00 

1  00 

1  00 

1  00 

1  00 

2  50 

90 

1  75 

1  00 

75 

1  50 

1  25 

40 

3  00 

2  00 

1  25 

75 

25 

75 

1  75 

75 

75 

6  00 

1  50 

75 

75 

1  00 

2  50 

4  00 

75 

75 

75 

75 

1  50 

6  00 

75 

1  50 

75 

76 

75 

75 

1  50 

75 

75 

8  00 

5  00 

1  25 

8  00 

15  00 

7  50 

1  50 

3  50 

7  00 

8  00 

10  00 

6  00 

2  00 

1  25 

8  00 

1  25 

1  00 

7  60 

10  00 

12  00 

5  00 

10  00 

1  25 

1  00 

1  25 

No.  Name.  Height,  in. 

3(H.5 — Benivieni  Head Bust,  18 

3646 — Bov  Laughing "  12 

3(547— Boy,  by  Donatello "  19 

3648— Bourdaloue "  17 

3649— Brutus "  22 

36.50— Canova "  26J 

3().51 — Cwsar  Julius "  30 

36.52—     "  "     "  27 

3fi53— Christ "  24 

36.54— Cicero "  30 

36.5.5—     "      "  27 

365(>—     "      "  22 

36.57— Clvtie "  28 

36.58—    ""      "  23 

3659—  "     "  17 

3660—  "     "  14 

3661—  "     "  10 

36<)2— Cupid "  17 

3663—     ''     on  pedestal "  13 

36(i4— Dante "  26 

3()()5—     "     "  16 

SmUy—     "    "  12 

3667 — Darwin "  26 

3668— David "  53 

3669— Demosth&nes "  27 

m70—  "  "  22 

3671—  "  "  15 

3672— Diana,  of  Versailles "  32 

3673—  "  "         "  14 

3674—  "  "         "  12 

367.5— Diomede "  28 

367()— Eros "  26 

.3677- Euripides "  27 

3678— Faun "  26 

3679— Fighting  Gladiator "  28 

;W80— II  Fiammingo  Bov "  20 

3681—  "  "■  "  20 

3682— Flora "  14 

3683— Girl,  by  Donatello "  19 

3(>84— Head,  with  Wing "  13 

368.5— Helena "  27 

3(>86 — Hermes,  Olympian "  32 

3(>87—       "  "         "  22 

3688—       "  "         "  12 

368!)— Hero "  30 

3690— Hippocrates "  27 

3091—  "  "  18 

3692— Homer "  27 

3693—  "      "  23 

3694—  "      "  15 

3695— Horatius  Flaccus "  25 

3696— Isis "  21 

3697— Juno  Capitol "  28 

3698—    "     Barberini "  40 

.3699—    "  "  "  20 

3700—  "     Ludovisi "  36 

3701—  "  "         "  14 

3702— Jupiter,  Otricoli "  40 

3703—  "  "       "  23 

3704—  "  "        "  11 

370.5— Laokoon "  27 

3706— Leucothea "  32 

3707—         "  "  lOJ 

3708— Lucius  Verus "  40 

3709— Madonna,  (Pieta) "  24 

.3710— Marcus  Aurelius "  30 

3711— Mark  Antonv "  28 

3712- Mercury ; "  30 

3713- Minerva.... "  19 

3714—        "         Giustiniani "  32 

,371.5—        "  "         "  24 

3716—        "         Medica "  24 

3717— Medici,  Juliano  de "  24 

3718—      "        Lorenzo  de "  26 

3719— Moses "  27 

3720— Kero "  24 

3721— Niobe,  Daughter "  26 

3722—  "      Mother "  32 

3723—  "  "      "  11 

3724 — Madonna  of  Nuremberg "  19 

372.5— Omphale "  20 

3726— Paris "  27 

3727— Pericles "  27 

3728— Plato "  26 

3729— Psvche  Naples "  26 

3730—  ■"  ^'     "  17 

3731 —  "        on  pedestal,  Naples "  13 

3732— Raphael "  27 


Price. 


3  .50 

1  25 

4  00 

3  50 

5  00 

8  00 

10  00 

7  00 

6  00 

10  00 

7  00 

5  00 

8  00 

500 

3  50 

2  00 

1  00 

3  60 

1  50 

7  00 

3  00 

1  26 

7  00 

35  00 

8  00 

500 

2  50 

15  00 

2  00 

1  25 

8  00 

7  00 

8  00 

7  00 

8  00 

400 

4  00 

2  00 

4  00 

3  00 

7  00 

10  00 

5  00 

1  60 

8  00 

7  00 

3  00 

7  00 

5  00 

2  60 

6  00 

5  00 

8  00 

20  00 

4  00 

16  00 

2  00 

26  00 

5  00 

1  26 

7  00 

15  00 

1  00 

25  00 

6  00 

10  00 

8  00 

8  00 

4  00 

12  00 

5  00 

8  00 

5  00 

7  00 

8  00 

5  00 

7  00 

15  00 

1  25 

5  00 

5  00 

7  00 

10  00 

7  00 

7  00 

3  50 

1  50 

8  00 

CLASSICAL  SlAfUARY.  BUSfS  ^^lAQD^lS/c 


91 


No.  Name.  Heifrht,  in. 

3733— St.  Bruno Bust,  10 

3734 — Seneca "  26 

373.'>— Socrates "  27 

373(i—       "        "  21 

3737— Sophocles ' "  27 

3738— Sphinx "  24 

373!) — \enus  Akropolis "  12 

374f)—      "       Aries "  28 

3741—  "       Canova "  23 

3742—  "  "       "  14 

3743—  "      Capitol "  31 

3744—  "      Capua "  32 

374.')—     "      Cnidos "  25 

374<)—     "       DcMedici "  28 

3747—  "       DeMilo "        34 

3748—  "  "       "        16 

37411-     "  "      "        14 

3750—     "       Pergamon "  18 

3751 — Verus  Lucius "  40 

3752— Voltaire "  27 

3753— Youth,  St.  Peters "  32 

3754—     "  "        "  20 

375,5—     "  "        "  10 

375(i—     "       Supplicant  (Praving  Boy) "  16 

3757—     "       ofTarent "  16J 

3758— Sheep 8* 

375i)— Lamb 12 

3760— Horse,  Btandiu}: 22 

3761—  "  "         12 

3762—  "       walking 12 

376:^-      "       running, 14 

3764—  "       walking 13 

3765 —  "       prancing 14 

3766 — Horses  playing 15 

3767-     "  "      11 

3768— Horse  and  Colt  playing 13 

3761)— Camel 10 

3770— Eagle 16 

3771 — Lion 15 

3772— Cow 10| 

3773— Bull 20j 

3774— Pointer 5^ 

3775— Pug  Dog 4 

3776— Cow  with  Calf. 11 

3777 — Standing  Setter 7 

3778— Trotting      "     7 

3779— Pointer 8^ 

3780 — Cupid  reposing,  by  Thorwaldsen 6 

3781 — Lion  of  Luzerne,  "  11 

3782—    "  "  "  4J 

3783— Ariadne  and  Panther,  by  Dannecker 21 

3784-        "  "  "  "  15 

3785 — Sleeping  Ariadne,  also  called  Cleopatra...  17 

378(>— Boy  with  Turtle,  by  Eude 14 

3787—        "         Goose,  by  Boethos 36 

3788— Thorn  Extractor  (Spinario),  by  Bofithos..  36 

378i)-      "  "  '   ^  "  "        ..  13J 

371)(J — Bacchus  and  Ariadne,  by  Thorwaldsen...  19 

3791— Cupid  and  Psyche 18 

3791-1-       "  "      28 

3792— Niobe  and  Daughter 92 

3793—  "                       ^'        26 

3794—  "                       "        21 

3795— Amor  and  Psyche,  by  Canova 28 

3796—    "                  *'                    "       13 

3797— Venus  and  Adonis,           "       29 

3798— Subpedestal  for  Venus  and  Adonis,  by 

Canova 7 

3799— The  Three  Graces,  by  Canova 29 

3798 — Subpedestal  for  same 7 

3800— The  Three  Graces,  by  Canova 21 

3801—    "         "            "                   "        12 

3802— Polyhvmnia 45 

3803— AVelcome 56 

3804— Euterpe 4;) 

3805 — Amor  and  Psyche,  by  Canova 20 

■.ma-   "      "        "  "     16 

3807—     "         "  "  "       13 

3808 — Laocoon  Group 72 

3809—        "  "     36 

3810— Dancing  Girl,  by  Canova 39 

3811— Victory,  by  Kiiuch 38 

3812— Terpsichore,  by  Canova 39 

3813— Hebe,  by  Thorwaldsen 60 

.3814—    "  "  50 

381.5—    "  "  25 

3816— Victorv,  by  Ranch 44 

3817— Hebe,  by  Canova 42 


Price. 


1  00 

8  00 

7  00 

5  00 

8  00 

8  00 

1  25 

7  00 

5  00 

2  00 

9  00 

10  00 

7  00 

7  00 

10  00 

3  00 

2  CO 

4  00 

25  00 

8  00 

15  00 

5  00 

1  50 

3  00 

3  00 

2  75 

3  50 

5  00 

1  80 

1  80 

4  00 

4  00 

3  50 

5  00 

3  ,50 

6  00 

2  00 

5  00 

4  00 

3  00 

6  00 

1  50 

40 

450 

1  50 

1  50 

1  50 

2  50 

4  00 

1  00 

10  00 

5  00 

7  50 

4  00 

25  00 

25  00 

3  25 

5  00 

5  00 

9  00 

100  00 

9  00 

6  ,50 

10  00 

3  «) 

10  00 

2  50 

10  00 

2  50 

6  00 

2  50 

20  00 

30  00 

20  00 

12  00 

8  00 

5  00 

100  00 

40  00 

15  00 

18  00 

15  00 

30  00 

25  00 

4  50 

20  00 

15  00 

Ko.  Name.  Hei^bt,  In. 

3818— Victory,  by  Ranch 37 

3819— Menelaos  and    Patroclos,   or  Ajax  and 

Achilles 24 

3819-1  —  Menelaos  and  Patroclos,  or  Ajax  and 

Achilles 16J 

3820— Belt  Bucklers 24 

3820-1-Pedestal  for  Belt  Bucklers 13i 

3821— Victory,  by  Ranch 46 

3822-Juliano  de  Medici 36 

3823-Lorenzo  de  Medici 36 

3824-Minerva 18 

382,5— Diano  di  Gabii 72 

382()—    "           "         28 

3827— Mars 18 

3828— Minerva,  Pallas  Giustiniani 90 

3829—        "             "               "          42 

3830— Hebe 62 

3831—    "     36 

3832— Ceres 44 

383;^— Venus,  by  Canova 69 

3834—  "                "       34 

3835—  "               "       23 

3836— Venus  in  Shell 18 

3837— Venus  Genitrix 72 

3838—      "             "       28 

3839— Venus  de  Medici 63 

3840—  "                  "      36 

3841—  "                  "     30 

3842— Venus,  by  Thorwaldsen 62 

3843—      "                      "             38 

3844— Apollino  de  Medici 63 

384,5 — Venus  Going  to  Bath,  by  Falconnet 32 

3846— Crouching  Venus 48 

3847—          "              "     17 

3848 — Venus  Coming  from  Bath,  by  Allegrain...  35 

3849— Greek  Slave,  by  Powers 66 

38,50—      "          "                 "       40 

3851—      "          "                 "       19 

38,52—      "          "                 "       14J 

38,53— Venus  de  Milo 84 

38,54r-      "               "    42 

38,55—      "               "     34 

3856—      "               "     23 

38,57—      "               "     19 

3858— Flora 42 

3859— Farnese  Hercules 120 

3860-        "             " 29 

3861— Arrotino,  or  Knife  Grinder 72 

3862—        "                  "            "         17 

3863— Germanicus  (so-called),  by  Kleomenes...  72 

386:^1—        "                  "                         "          ...  32 

3864-Moses,  bv  M.  Angelo 36 

3865-Psyche,  by  Canova 46 

386()-      "          '        "        24 

3867— Erato 26 

3868  -The  Praving  Boy,  of  the  Berlin  Museum.  54 

3869—  "           ■"'           "          "          "            "        ..  31 

3870— Faun,  by  Praxiteles 29 

3871-Antinou8 72 

3872-        "        25 

3873 -Piping  Faun 60 

3874-Borghese  Achilles 88 

3875-       ^'               "       45 

3876-Bacchus 60 

3877-Slave,  by  M.  Angelo 46 

3878-The  Cyclop  Polyphemus 17 

3879 — Jason  (formerlv  called  Cincinnatus) 72 

3880—    "             "      ■       "              "           27 

3881— Boxer,  by  Canova 48 

3882— Fighting  Gladiator,  or  Borghese  Gladi- 
ator, by  Agasias 72 

3883— Boxer,  by  Agasias 41 

38g4 "               "          34 

SSS6-      "       by  Canova..!...."!!!!...."......!!!!'.!!".'  33 

,3886— Mercury 15J 

3887 — Silenus  and  Infant  Bacchus 48 

3888—      "          "          "            "         22 

3889-Mercury 63 

3890-       "         22 

3891— Hermes  Carrying  the  Infant  Dionysus, 

by  Praxiteles 92 

3892— Hermes  Carrving  the  Infant  Dionysus, 

by  Praxiteles 30 

3893— Atlas  bearing  Globe 49 

3894— The    Clapping    Faun,    restored    by    M. 

Angelo 60 

389,5 — The    Clapping    Faun,    restored    by    M. 

Angelo 34 


Price. 

12  00 

7  50 

5  00 

15  00 

5  00 

15  00 

25  00 

25  00 

2  50 

60  00 

7  50 

2  50 

75  00 

12  00 

35  00 

10  00 

14  00 

60  00 

8  00 

4  00 

5  50 

60  00 

7  50 

35  00 

12  00 

10  00 

m  00 

12  00 

35  00 

10  00 

50  00 

5  00 

10  00 

60  00 

12  00 

3  00 

1  ,50 

50  00 

12  00 

9  00 

4  50 

3  50 

12  00 

100  00 

7  50 

60  00 

6  00 

75  00 

7  50 

25  00 

12  00 

4  00 

7  00 

25  00 

7  00 

6  00 

75  00 

5  00 

30  00 

85  00 

15  00 

30  OO 

12  00 

3  00 

100  00 

9  00 

16  00 

75  00 

12  OO 

10  00 

12  00 

2  00 

15  00 

6  00 

40  OO 

5  00 

100  00 

10  00 

11  00 

50  00 

6  00 

92 


crtEnnEGKEeo  fniLWAUKEE«i''eftief^o^ 


No.  Name.  Height,  in 

3896— Discobolus  of  Mvron 72 

3897—  "  ■"      2(5 

3898— Narcissus 20 

3899— Discobolus  of  Naucydes 72 

3900-  "  "         25 

3iK)l— Apollo  Sauroktonos,  the  Lizard-killer 63 

3902— Amazon,  after  Phidias 84 

3<)03— Bacchus 63 

3i)04 -Sophocles 84 

3905-        "  36 

3900— Demosthenes 36 

3907-Aristides 84 

3908-        "        36 

3909— JEsculapius 84 

3910—    "     36 

3911— Flying  Mercury,  by  Gian  da  Bologna. 35 

3912  -Hygieia 72 

3913  -Adonis 72 

3914  Flying  Mercury,  by  Gian  da  Bologna 72 

3915  Apoxyomenos,  after  Lysippos 84 

3916-    ^      "  "  ^       42 

3917-Apollo  Belvidere iX) 

3918  "  "         37 

3919  Day,  by  M.  Angelo 9 

3920  -Diana  de  Versailles 84 

3921—     "  "       :u 

3923 -Twilight,  by  M.  Angelo 22 

3924-Dawn,  by  M.  Angelo 22 

3925  -Wrestlers,  (School  of  Rhodes) 19 

3926— Dying  Gaul 84 

3927—  "        "    14 

3928-  "        "     9 

3929— Mercury,  or  Resting  Hermes  12 

3930-Night.  bv  M.  Angelo 22 

3931-Dav,  bv"M.  Angelo 22 

3932 -Fluted' Pedestal 33 

3933—     "  "        38 

3934 — Decorated  square  pedestal,  Antique 3() 

3935-        "  round         "  "         40 

3936 -Pedestal  for  Groups 37 

3937— Bracket  for  Bust,  (Head  and  Scroll) 14 

3938 — Acanthus  leaf  bracket 11 

3938— 1- Acanthus  leaf  bracket 9 

3939— Bracket,  (Grotesque  Head  and  Scroll) IIJ 

3940 -Oak-leaf  bracket 14 

3941 — Winged  Horse  (Pegasus)  bracket 14 

3942 -Fluted  Pedestal  for  Bust 43J 

3943  -Lvre  Bracket 17 

3943-1 -Lyre  Bracket 14 

3944— Bracket,  (Grotesque  and  Scroll) 14 

3945— Medallion  of  Dr.  Vincent 11 

3946 — Mercury,  Eurydice  and  Orpheus,  relief,  44 

3947-        "     "  '■'  "  "  "  11 

3948-) 

3949 —  [  Three  Stages  in  Modeling  Human  Foot  13 

3950— J 

3951 -) 

3952—  [  Tliree  Stages  in  Modeling  Human  Hand  13 

3953  -  J 

3954— Human  Hand,  closed 12 

3955—1 

3956—  I 

3957—  }  Five  Stages  in  Modeling  a  Bust 18} 

3958—  I 
3959 -J 

3960 — Lekytho,  amphora 10 

3901 — Panathenaic,  amphora 8 

3902— Amphora 8 

3963—        "        10  . 

3964— Hydria 10 

3965— Greek,  amphora 9 

3966— Lekytho,  amphora 9 

3967— Hyd:ria 9 

3968-Greek  Krater 9 

3969— Lepaste 5 

3970-Kylix 5 

3971  — Krater 9 

3972 -Lekythos 12 

3973-Lebes 10 


Price. 

85  00 

6  00 
5  00 

65  00 

4  00 
50  00 

100  00 
.50  00 

100  00 
12  00 
12  00 

100  00 
12  00 

100  00 
22  00 

7  00 
75  00 
75  00 
40  00 
80  00 
15  00 
85  00 
15  00 

2  00 
85  00 
15  00 
15  00 
15  00 

9  00 
100  00 

0  00 

3  00 
3  00 

15  00 
15  00 

8  00 

7  00 

8  00 
8  00 

28  00 
3  00 
(i  00 

5  00 

2  50 
5  00 

3  00 
8  00 
5  00 

4  00 
3  50 
2  00 

15  00 
2  00 

each,  1  50 

"     1  50 

1  00 


2  50 


1  50 
1  00 


00 
50 
25 
00 
00 


(H) 
00 
25 
25 
25 


No.  Name.  Height,  in. 

3974— CEnochoe 10 

3975— Prochous 10 

3976— Lekythos 10 

3977 — Etruscan  Vase 7J 

3978 — Cantharus 8 

3979-Greek  Vase 10* 

39S0-Arvballus 9 

3981— Lebes 9 

3982— Modern  Vase 10 

3983— Greek  Vase 10 

3984—  "      Jug 8 

3985—  "      Vase 8 

3986 — Ancient  Jug 7 

3987— Modern  Vase 10 

3988— Modeling  Stand 

3989— i;a8el  of  Wire 18 

3990— Wire  Support  for  Statue 

3991  -  Support  for  Bust 

3992  — Acfjustable  Combination  Stand 1 


Mce. 
1  25 

1  00 

1  (K) 

1  25 

1  25 

1  00 

1  00 

1  00 

1  (X) 

1  00 

75 

75 

75 

1  25 

4  00 

60 

3«)3- 

3S)94  — 

3995— 

3996- 

3997— 

3998— 

39f»9- 

4000— 

4001- 

4002  - 


i 


6  00 


Hardwood 6 

9 

Soft  Wood 12 

15 

18 

21 

..  24 

..  30 

..  36 


Male  and  female  lay   figures,   life  size, 
dressed  in  tricot,  jointed  limbs,  and 

stand 

4003— Modeling  Board 15 

4004 —  "  Stand,  for  work  in  relief 12 

4005—  "  "  for  Busts  and  Statues....  50 
4006— Easel,  for  supporting  Modeling  Board....  66 
4007 — Modeling  Tool 8  perdoz 

4008—  "  "    8 

4009-  "  "    8        " 

4010-AVire  Modeling  Tool 9 

4011-Calipers 4 


75 

25 

00 

50 

00 

00 

5  00 

8  00 

12  50 


each,  135  00 
2  00 

2  25 
4  00 

3  25 
4 
3 
4 
6 


each, 


4012- 
4013— 

4014— Modeling  Tool 8  per  doz 

4015—  "            "    8 

4016-  "            "    8 

4017-Flexible  Modeling  Tool 10 

4018—        "               "             "    12 

4019-Steel  Modeling  Tools  for  Plaster 9 

4020-Rasp  for  Finishing  Casts 9 

4021 —Atomizer 

4022— Modeling  and  Drawing  Table 

4023  — Double  C'alipers 4 

4024—  "             ''       5 

4025—  "             "       6 

4020-Knife  for  Moulding 5 

4027—    "        "          "         7 

4028-Ca8t  Steel  Dividers 5 

4029— 


00 
00 
00 
00 
40 
40 
50 
3  00 

3  00 

4  50 

6  00 

7  20 
6  00 
9  00 

each,  1  00 
"      6  00 


4030- 
4031— 
4032— 
4033- 


9 
12 
15 

18 


4034 — Froebel  Monument 12} 

4035—  "        Bust 28 

4036—  "  "    16 

4037— Section  of  Carvers'  Table,  showing  sere  w^. 
4038-Clamp,  2A  in 

4   in 

"         0    in 

4039— Oil  Stone 

4040 —  "      "     in  mahogany  case 

4041— Hand  Screw,  10  in....". 

12  in 

14  in 

4042-Carvers'  Punch 

4043— Carving  Knife 

4046 — Set  of  six  carving  tools  in  walnut  box 

For  Carving  Tools,  see  page  85. 


40 
50 
60 
60 
80 
50 
60 
75 
00 
50 
00 
00 
00 
00 

25 
45 
70 
35 
00 
30 
40 
50 
30 
50 
50 


Errata — Page  27,  Relief  of  Winter  should  be  Xo.  3274  instead  of  3247. 


All  casts  of  Flowers,  Fruit,   Leaves  and  parts  of  the'  Human  Body  are  from  Nature,  except 

where  otherwise  stated. 


%° 


#^ 


MILWAUKEE, 


79,  81  AND  83  BUFFALO  ST. 


c  HeNNecKe  eo,. 


CHICAGO, 

207  WABASH  AVE. 


E«  ESTABLISHED  1865.  •t 


•  -^r-c^" 


O*   TH 


■  ♦♦  ADDRESS  ALL  COMMUNICATIONS  TO  MILWAUKEE  OFFICE.  ♦♦  •((  C^  J  V  £  J 

mimim^  mum  MUjMm 


S  considered  by  the  foremost  Educators  in  all  countries  as  indispensable  to  the  laying  of  a  sure  and  broad 
foundation  in  art.  The  Technical  commissions  appointed  at  different  periods  by  the  Governments  of 
Belgium,  France,  England  and  Germany  (reporting  unanimously),  emphasized  the  value  of  drawing  from 
nature  and  from  the  best  examples  of  ancient  and  modern  art.  They  advocated  discarding  the  drawing 
from  the  fiat.  It  may  be  regarded  as  a  fact,  settled  by  experience,  that  the  instruction  in  drawing  which  does  not 
start  from  models,  and  which  througliout  is  not  based  mainly  upon  models  and  objects  is  not  sound  instruction. 
"It  is  not  the  shadows  of  things,  but  things  themselves,  which  should  be  presented  to  youth." 
If  our  patrons  are  moved  to  "read  up"-  on  the  above  subject,  we  refer  them  to  our  "Art  Studies,"  Catalogue  No. 
4,  giving  names,  dates,  etc.,  pages  i  to  lxx,  where  the  value  of  art  education  is  fully  set  forth  by  prominent 
educators,  artists  and  statesmen. 

•^I^e  'illustrations  anb  price  £ist  in  tijese  Pages  are  a  ^wpplement  to  Catalogue  Jto.  4 

3lTt  3tubies  for  Design. 

A  book  of  162  quarto  pages,  containing  illustrated  essays  on  Manual  Training  and  Industrial  Education,  Art 
Education,  Drawing,  Modeling,  Clay  Modeling,  The  Development  of  the  Vase,  Greek  Pottery,  Wood  Carving,  Original 
Composition,  Grecian  Mythology,  Biographical  and  Mythological  Notes,  with  834  illustrations;  besides  describing  1068 
Antique  Statues  and  Busts,  Models,  Anatomical  Studies,  Parts  of  the  Human  Body  from  Nature,  Conventional  Leaf  and 
Flower  Forms,  Vases,  Architectural  and  Historical  Ornaments,  Animal  Forms,  etc.,  for  Colleges,  Schools,  Academies  of 
Design,  Amateurs  and  Artists,  also  enumeriited  in  List  D.  To  add  to  its  value  as  a  book  of  reference,  we  have  appended 
comprehensive  notes,  giving  a  general  description  of  each  Statue,  name  of  Scmlptor,  when  and  where  found,  present 
place  of  original,  mythological  history,  biographical  sketches,  etc.  The  elegant  illustrations  together  with  the  text, 
make  it  a  more  valuable  and  complete  book  of  reference  for  artists,  designers,  art  students,  or  any  person  wishing  to 
cultivate  a  taste  for  the  beautiful,  than  any  art  book  published.  Will  be  mailed  upon  receipt  of  81.50,  post  paid,  which 
we  will  credit  on  first  order,  making  the  book  really  free  to  customers. 

Experience  has  taught  us  that  an  edition  of  100,lXKJ  Catalogues  annually  would  fail  to  supply  the  demand,  should 
we  furnish  them  gratis  to  all  applicants,  we  arc^  therefore  compelled  to  make  a  nominal  charge  for  them;  but  we  will 
send  to  all  applicants  post  paid  our  List  D,  which  is  a  complete  classified  Index  with  prices  of  the  above  described 
Catalogue  No.  4  Art  Studies  for  Design. 

Catalogue  No.  5,  illustrating  and  describing  465  Statues  and  236  Busts  of  celebrated  personages  from 
the  earliest  period  up  to  the  present  time,  price  of  Catalogue  No.  5,  75  cents.  This  amount  paid  will  be  credited 
on  first  order.  We  will  mail  to  any  address  No.  4  and  5  Catalogues  for  12.00,  and  will  send  on  apijlication  post  paid 
List  A,  being  a  complete  classified  Index  with  prices  to  Catalogue  No.  5  (Florentine  Statuary)  for  decorative  purposes. 

Florentine  Statuary  is  a  composition,  in  color  and  consistency  closely  reseaibling  the  celebrated  Florentine 
Terra  Cotta,  hence  its  name.  When  it  comes  from  the  dry  kiln  it  is  of  a  pale  reddish  color,  ready  to  be  tinted  or 
decorated.     We  give  Vjelow  the  finishes  most  desirable. 

No.  1.  Florentine — A  flat  grey  stone  color.  No.  2.  Metal  Bronze — Dark  antique.  No.  3.  Gold  Brilliant — 
Bronze.     No.  4.     Terra  Cotta.     No.  5.     Pure  White.     No.  6.     Marble  White.     No.  7.     Silver — Antique. 

Catalogue  No.  12,  of  Bronze  and  Parian  Marble,  fi'ee  to  all  applicants.  We  send  for  inspection  Photographs 
of  Marble  Sculpture  on  application.  We  are  in  constant  communication  with  our  correspondents  in  European  Art 
Centres,  who  keep  us  posted  as  to  the  latest  and  most  valuable  art  productions  in  our  line.  We  are  therefore  prepared 
to  furnish  any  work  of  art  on  short  notice  to  the  entire  satisfaction  of  the  purchaser. 

In  many  Schools  and  Colleges  it  is  the  commendable  custom  to  donate  a  Statue  or  Bust  from  beautiful  examples 
of  Antique  Sculpture,  by  the  graduating  class  as  a  memento.  If  this  is  yearly  repeated  the  collection  will  grow  from 
an  earnest  and  small  beginning  to  a  valuable  collection  and  give  to  donors  as  well  as  the  donees,  more  real  pleasure 
and  satisfaction  than  if  the  money  was  furnished  to  buy  a  large  collection  at  one  time  by  an  imposing  list  of  patrons. 


4-(ENNEGKE'S>KEItET0N  jM[£)r)EhS. 


(MADE  OF  STEEL  WIRE.) 


For  Use  in  Common  Schools,  High  Schools,  Technical  Schools  and 

Art  Schools. 

^  INCE  the  study  of  the  geometrical  solids  must  always  be  at  the  foundation  of  all 
art  education,  it  is  with  much  pleasure  that  we  announce  to  the  teaching 
profession  that  Ave  have  designed  and  are  now  prepared  to  manufacture 
Skeleton  Models  made  of  steel  wire  for  use  in  schools.  These  models  will 
be  found  to  be  especially  valtiable  in  the  study  of  perspective  and  will  make 
plain  many  difficulties  that  now  appear  well  nigh  insurmountable  to  the 
amateur  draughtsman  and  art  student.  All  the  edges  of  solids  and  geometrical  planes  are 
represented  in  these  skeleton  figures,  and  the  edges  which  are  usually  termed  invisible,  are 
thus  made  plain.  One  great  advantage  that  these  figures  possess  is  their  size,  being  made  so 
large  that  it  is  possible  to  instruct  an  entire  class  at  one  time. 

We  beg  further  to  announce  that  we  manufacture  an  iron  stand  for  these  models  which 
not  only  holds  the  model  firml3%  but  allows  the  form  to  be  placed  in  any  position  and  at  auA- 
angle.  The  value  of  the  models  is  thereby  increased  a  hundredfold  since  the  adjustment  can  be 
made  in  a  moment,  giving  a  new  position  at  each  change  and  a  new  lesson  to  the  student,  or 
to  the  class. 

The  models  can  be  made  equally  serviceable  in  the  study  of  projection  in  our  High 
schools  and  Technical  schools. 

C.  HENNECKE  CO. 


207  WABASH  AVE.,  CHICAGO,    ILL. 


79-81  BUFFALO  ST,  MILWAUKEE,   WIS. 


LARGER  SIZE  MODELS  MADE  TO  ORDER. 


No.  5023. 


Hennecke's  Model  Stand  for  holding  wire  niodek.    Can 
be  adjusted  to  show  the  model  in  any  position. 

Height,  13  in.     Price,  $3.00, 


No.  5023. 

Stand  showing  wire  njodel  in  j>osition. 
position  at  pleasure. 


Can  change 


MILWAUKEE. 


C.  HENNECKE  COMPANY. 


CHICAGO. 


No.  5001. 


No.  5004. 


Model   for   teiiching   tlie   perspective   drawing  of   the  Model  to  assist  in  illustrating  the  perspective  drawing 

right  angle.  of  lines  intersecting  each  other  at  right  angles. 


12  in.  long,  95  in.  wide.     25  cents. 


13i  in.  long,  7i  in.  wide.     50  cents. 


No.  5002. 

Model   for   teaching    the   perspective    drawing  of   an 
acute  angle. 

12  in.  long,  4i  in.  wide.     25  cents. 


No.  5005. 

Model  for  teaching  the  perspective   drawing  of  lines 
intersecting  each  other  at  right  angles. 

12  in.  long,  12  in.  wide.     60  cents. 


No.  5003. 


No.  5006. 


Model  for  teaching  the  perspective   drawing  of  right  Model  for  teaching  the  perspective  drawing  of  the  equi- 

angles.  lateral  triangular  plane. 


16  in.  long,  16  in.  wide.     50  cents. 


Sides,  12  in.     .50  cts. 


MILWAUKEE. 


C.  HENNECKE  CO. 


CHICAGO. 


No.  5007. 

Model   for    tea(ihing  the   perspective   drawing  of   the 
square  plane. 

12  in.  square.     -50  cts. 


No    5010 

This  model  is  to  assist  in  the  demonstration  of  the  prin- 
ciple that  a  circle  seen  in  perspective  appears  as  an  ellipse; 
or,  that  a  circular  plane  seen  in  perspective  appears  as  an 

elliptical  plane. 

12    in.  diani.     .50  cts. 


No.  6008.  Ifo.  5011. 

Model  for  teaching  the  perspective  drawing  of  inscribed  Model  for  teacliing  tlie  perspective  drawing  of  a  circular 

square  planes.  plane  inscribed  in  a  square  plane. 

12  in.  s(iuare.     $1.()().  12  in  square.     «1.()0. 


No.  6009. 
Model  for  teaching  the  perspective  drawing  of  tlic  pen- 
tagonal plane. 

Sides,  SJ  in.     60  ct.s. 


No.  5012. 

Skeleton  Triangular  Prism. 
16  in.  high,  sides  8J  in  wide.     $2.(X). 


MILWAUKEE. 


C.  HENNECKE  CO. 


CHICAGO. 


No.  5013. 

Skeleton  Cube. 
1  in  square.     $1.50. 


No.  5016. 

Skeleton  Cone. 
This  model  can  also  be  used  to  illus- 


No.  5019. 

Skeleton  Squ.\re  Pyramid. 


trate  the  drawing  of  the  Truncated  Cone.   ,„  .      ,  .  ,    „  .  ^  ,  ^,  r,- 

16  in.  higli,  diam.  at  base  8  in.     *2.00.   ^^  m.  high,  8  in.  square  at  base.  Isl.75. 


No.  5014. 

Skeleton  Square  Prism. 
16  in.  high,  8  in.  square.     $2.50. 


No.  5017. 

Skeleton  Cylinder. 

16  in.  high,  diaiu.  8 J  in.     $2.50. 


No    5016. 


No.  5020. 

Skeleton  Hexagonal  Pyramid. 
16  in.  high,  sides  4J  in.  at  base.    $2.00. 


Skeleton  Hexagonal  Prism. 
16  inches  high,  sides  4}  in.  wide 


No.  6018. 

Skeleton  Triangular  Pyramid. 
*3.00.    16  in.  high,  sides  at  base  Si  in.     Sl.SO. 


No.  5021. 
Skeleton  Tetrahedron. 
9  in.  .sides.     80  cents. 


MILWAUKEE. 


C.  HENNECKE  COMPANY. 


CHICAGO. 


No.  5022. 

Skeleton  Sphere  with  two  great  cir- 
cles intersecting  each  other  at  right 
anglef*. 

8  in.  diani.     81.7-5. 


I 


No.  5024. 

Skeleton  Rkgular  Octahej)kox. 

11  in.  high,  11  in.  wide.     $2.0o. 


No.  5026. 

Skeleton  Right  Rhombic 

Octahedron. 

14  in.  liigh.  10  in.  long,  7  in.  wide. 
82.00. 


No.  5028. 

Skeleton  Oklique  Rhomboidal 
Octahedron. 

18  in.  high,  9  in.  long,  7  in.  wide. 
82.00. 


No.  5027. 

Skeleton  Oblique  Rhombic 

Octahedron. 

18J  in.  liigh,  9  in.  long.  7  in.  wide. 
82.00. 


No.   5029. 

Skeleton  Right  Dihexagonal 
Pyramid. 

14  in.  high.  9J  in.  wide.     82.-50. 


No.  6026. 

Skeleton  Right  Square  Octahedron. 
14  in.  high,  8J  in.  wide.     82.00. 


We  will  h-enfl  the  c()ini)letc  set  of  Skeleton  Models,  Nos.  5001  to  -5022, 
with  Stand,  for  |!2.5.00.     Single  Models  at  rates  given  ahove. 

Tlie  Skeleton  Models  of  Crystals,  Nos.  5024  to  -5029,  we  will  send  for  81(».00. 
As  the  strings  or  light  wire  joining  the  angles  might  he  broken  in  transit,  the 
Models  will  be  shii)pe<l  without  theni;'tliey  can  lie  adjusted  in  a  lew  minutes- 

All  our  Skeleton  Models  are  made  in  i)roportional  sizes,  so  that  conilnna. 
tions  can  easily  be  made. 


C.  HENNEICKE  CO., 


MILWAUKKE : 

79-83    BUFFALO    STREET. 

e 


CHICAGO : 

207   WABASH    AVENUE. 


MILWAUKEE. 


CHICAGO. 


Parker's  X^^'  Striictopal  Maps  for  T^acl^ii^g  Qeo^rapl^y, 

Parkfi's  Structural  Majm  tiri'  witliout  doubt  tin-  best  ri^licf  niai)K  for  teacliini;  purposes  now  made  in  tlie  worlil.  Thev  are  not  only  the 
bewt,  but  they  are  the  eheai>ef-t;  imported  maps,  not  to  be  compared  with  them  in  real  value,  cost  twice,  if  not  three  times  as  much. 

The  structtiral  mai)S  are  made  of  a  newlv  discovered  indestructible  material  which  is  verv  much  superior  to  papier  mache.  The  C. 
Hennecke  Comi)any  inventors  of  this  material,  manufucturers  of  drawin^r  models  and  reproducers  of  ancient  and  modern  works  of  plastic 
art,  are  the  manufacturers  of  these  structural  maps.  In  its  i)articular  branch  this  firm  is  unexcelled;  and  its  name  is  a  guarantee  of  perfect 
workmansliip.     Each  map  is  artisticallv  paintcil. 

The  painting  adds  very  much  to  tlie  general  effect  of  the  maps  as  the  low  lands  are  painted  the  darkest  tint,  and  the  shading  is  made 
very  gradual  ui>  the  slopes,  to  light  trray  and  white  on  the  snowy  tops  of  the  jirimary  highlands,  thus  strengthening  the  effect  of  the  relief. 

TIh^  Structural  Maps  show  at  a  glance  the  general  structure  or  relief  of  a  continent. 

The  sight  is  not  encumbered  by  a  multitude  of  names  or  a  net  work  of  parti-colored  political  divisions.  Clear,  strong  lines  and  simple 
artistic  sliading  preserve  the  whole  continent  as  a  great  "  organism  for  life."  The  primary  land  masses,  crowned  bv  the  primary  highlands, 
the  long  slopes  on  which  rest  the  secondary  land  masses,  the  valleys,  plains  and  plateaus'are  distinctly  exhibited.  "  But  that  which  is  most 
imj)ortHnt  is  the  full  understanding  these  maps  afford  of  the  distribution  of  moisture;  the  drainage  which  forms  the  basis  of  vegetable  and 
animal  life. 

With  these  maps  Geography  can  be  made  an  exceedingly  interesting  and  profital)le  studv. 

These  maps  are  so  constructed  and  framed  that  breakage  is  next  impossible.  The  frame"  is  made  of  Cherry  stained  wood  and  projects 
sutlicient  to  protect  the  map  against  injury. 

No.  5034— ASIA. 


5032 


I'.ueli  mail  -■'  -^  -"^  inches.     I'lice  eacii,  $8.00. 
No.  5033— AXTSTBAIilA. 


No.  5035— EUROPE. 


No.  6080— AFBICA. 


HB 

^M 

^^  ^TI^I^^^I^B 

^M 

^^m 

#■'^5 

These  maps  are  especially  adapted  to  the  teaching  of  Geography  according  to  the  methods  of  Humboldt,  Ritter,  Guvot,  Pesehel  and 
others. 

The  original  models  of  the  continents  were  made  with  the  greatest  care  and  skill  by  an  excellent  artist.  Berghaus  and  Stieler's  new- 
atlases  were  followed  with  extreme  minuteness  in  the  construction.     Each  22x28  inches.    Price  each,  88  00. 


MILWAUKEE. 


C.  HENNECKE  CO. 


CHICAGO. 


No.   5036.     N.   AMERICA. 


The  fiiu'st  and  most  valuable  of  all  the  Struetural  Maps  is  the  large  map  of  North  America  just  completed.  49  x  61  inches.     Price,  3S2p.t.O. 
Experts  who  have  seen  this  map  are  unstinted  in  its  praise.     It  makes  a  fine  ornament  for  any  college  or  school  room,  and  it  anords 
the  very  best  means  of  studying  the  structure  of  our  own  great  continenf. 

No.  5037-XJNITED  STATES. 


The  model  of  the  United  Slates  was  made  by  Mr.  Hunto.ni.   -  ndent  of  the  Blind  Asylum  of  Louisville,  Kv.     He  made  the 

closest  study  of  the  United  States  Topograjjliica  and  Coast  Surveys,    it  is  pericctly  safe  to  assert  that  no  relief  map  ever  made  of  this  country 
can  compare  with  this  wonderful  one.    22 x.'U  inches.     Price,  $10.00. 

8 


MILWAUKEE. 


C.  HENNECKE  CO. 


CHICAGO. 


No.  5039— ITALY. 


For  flic  ^*tu'ly  <if  tlie  History  of  Kome,  and  of  thiB  famous  peninsula,  this  ma])  is  simply  invaluablp.     29x;i")  inches.     Price,  $12.00. 

No    .5n,S8     PALESTINE. 


Size,  22x28  inches.     Price,  *10.00. 

This  map  will  be  found  very  interesting  to  Divines,  Professors  and  Students  of  Theology,  Superintendents  of  Sunday  Schools,  and 
others  interested  in  Biblical  Histofv. 

Tlie  following  is  a  copy  of  one'of  the  numerous  unsolicited  testimonials  and  endorsements  which  Col.  Parker  has  received: 
Tlie  relief  niai)S  have  Oeen  of  incalculable  value  to  me.    Through  them  I  mvself  have  gained  a  much  clearer  idea  of  the  structure  of 
the  various  continents,  and  have  been  able  to  lead  the  students  to  do  the  same.     I  do  not  feel  that  I  could  work  without  them. 

-»  Yours  trulv. 

Clarion-,  Pa.,  Feb.  24,  1890.  '  MARY  E.  SYKES 

■State  Normal  School. 

9 


MILWAUKEE. 


C.  HENNECKE  COMPANY. 


CHICAGO. 


Supplement  to  Catalogue  No.  4,     Art  Studies." 


No.  4092.  No.  4093.  No.  4095. 

5  inche.«,  60c.  8  inches,  *1.00.  6  inches,  75c. 

For  cleaning  Plaster  Casts  use  Hennecke's  Mirbane  Paste. 


"^JjUk 


No.  4097. 

4  inches,  50c. 


No    4094. 
12  inches,  81.50. 


No.  4098. 

4  inclies,  -^Oc. 


No.  4106— ■!()  uuhcs,  *  7.()0. 
"     3470—  6  feet,         50.00. 


No.  4101. 

8J  inches,  11.00. 


No.  4096. 
13  inches,  12.00. 


iirs^^^ 


\^ 


^ 


No.  3391. 

The  hand  of  a  celebrated  Pianist. 
Exceptionally  fine. 

S  inches.     SO  cts. 


No.  4099.  ^°-  4100- 

14}  inches,  $1.25.  8  inches,  $1.00. 

ALL  HANDS,  ARMS  AND  FEET  ON  THIS  PAGE  ARE  FROM  LIFE. 

10 


III 


MILWAUKEE. 


C.  HENNECKE  COMPANY. 


CHICAGO. 


,-•,,/' 


■\: 


No.  4075.  .    No.  4076  No.  4077. 

9  inches,  *1. 00.  10  inches,  $1.50.  9i  inches,  « 1.00. 

For  cleaning  Plaster  Casts  use  Hennecke's  Mirbane  Paste. 


No  4078. 

10  inches,  $1.25. 


No.  4081. 

8J  inches,  80e. 


No.  4084. 

10  inches,  81.2.5. 


No.  4087. 

9  inches,  $1.0(1. 


No.  4090. 

5  inches,  .50c. 


No.  4079. 
9  inches,  $1.00. 


:,:s^ 


No.  4082. 
9  inches,  $1.00. 


No.  4085. 

8J  inches,  $1.00. 


No.  4080. 
8i  inches,  *1.00. 


No.  4083. 
9  inches,  $1.00. 


No.  4086. 

7  inches,  75c. 


No.  4089. 
4  inches,  40c. 


No.  4088. 

6  inches,  .50c. 

A?'!'  HANDS  ON  THIS  PAGE  ARE  FROM  LIF^. 
11 


No.  4091. 
4i  inches,  40c, 


MILWAUKEE. 


C.  HENNECKE  COMPANY. 


CHICAGO. 


No.  4124. 


No.  4103. 


No.  4125. 


lloifflit,  14  in.,  I.cii<.'tli,  19  in s4  im 

A  (l<)ul)le  anatouiical  stu<lv,  sliowin;;  one  side  of  the  horse 
with  liiilc  removed,  layins;  han!  tlie  niustles  etc.,  and  tlie 
otlier  side  the  flesli  removed,  sliowing  the  bone  structure. 
An  exceptionally  fine  study. 

For  cleaning  Plaster  Casts  use  Hennecke's  Mirbane  Paste. 


ISindi  Monk,  ^:;.00. 

The  seven  Monks,  of  which  two  are 
illustrated,  are  from  tlie  tomb  of  the 
Uuke  of  Burgundy,  France. 

They  are  considered  among  the 
very  best  examples  of  modern  art  and 
are  noted  for  the  exceptionally  fine 
and  graceful  drapery. 


18  ill.  .Monk $3  UO 

No.  4119— Monk 3  00 


4102. 


No. 

3127— Pear $0  50 

3128— Orange .50 

3129—     "      50 

3130 — Lemon .50 

3131— Citron 50 

3132— Quince 50 

3133 — Pomegranate .50 

3134— Apple 50 

3135— Potato 50 

313() — Cocoanut .50 

4104— Onion 50 

4105— Carrot ,50 

4i;!9— Cucumber .50 

4126— Pepper 50 

4127— Tomato 50 

4128— Turnip 50 

4129— Corn .50 

4130— Beans 50 

4131— Hadish 50 

4132 — (iroup  (5)  Horse  Chestnuts,  partly  open 50 

4133—      "      (4)  Butternuts 50 

Tlie  above  are  mounted  on  plaques,  7x5J  in. 

4134— Musk  Melon,  7  in ._ (iO 


4120—  "     3  00 

4121—  "     3  00 

4122—  "     3  00 

4123—  •'     3  00 

ST.  JEBOME— MASK. 

No.  3550. 


On  6  inch  Stand,  $3.50. 
From   nature.    The  jaw  is   held  in 
position  by  two  springs. 


4135 — Cabbage, 
4137— Squash,  7 


/  in... 
inch. 


00 
00 


16  in 


No. 

3493— .'Eschylos, 

3494 — Augustus, 

3495— Ajax, 

3496— Antinous 

3497 — Agrippa 

349»— Caligula 

:W99 — Canova 

3500— Christ,  Mask,  on  Pedestal 

by  Michael  Angelo 24 

3501— Cicero,  Mask 14 


In. 

Mask.; 14 

"     13 

"     13 

"     15 

•'     ....18 

"     19 

"     24 


3502— Clytie, 
3.503— Dante 
3.504— David 
3.505—    " 


.14 
9 


b>;_M.  Angelo  20 

on  Pedestal 30 

3506—    "  "    by  M.  Angelo  24 

3507 — Demosthenes,  Mask 14 

3508— Diana,  "    15 

3509— Diomede  "     16 

3510 — Discobolus,  Naucydes, 

Mask 13 

3511 — Dving  Warrior,  Mask 13 

3512— Euripides,  "     15 

3513— Fighting  tiladiator"     16 

3514— Juliano  De  Medici  "    16 


No. 
$1  5<)        3515 — .Juno     Capit( 

1  00        3516— .Jupiter, 

2  00        3517— Madonna, 
1  00        3518— Mercury, 

1  50        3519— Minerva, 

2  00        3520— Moses, 
1  00        3521— Nero 

3522— Niobe  Daughter, 
1  ,50        3,523— Nubian  Cirl, 
1  50        3524— Psyche  of  Naples 
1  50        3,525— Rafael  Dorbino, 
1  50        3526— St.  F'rancis 
5  00        3527— St.  Jerome, 
3528— Socrates, 
3529— Sophocles, 
3530 — Spartacus, 
3531— A  enus  Aries, 


In. 
Mask 13    fl 


10  00 
6  00 
1  50 
1  25 
1  ,50 


3,532—      "      Bath, 

;«33—      "      Capitol, 

3534—  "  Capua, 
1  25  3535—  "  Cnidos, 
1  25  3,536—  "  Medici 
1  50        3537—      "      Milo, 

1  50        3538—      "      Thorwaldsen    13 

1  50        3539— Voltaire,  Mask 13 

3540— Beethoven,  "     9 


,28 
,14 
14 
.14 
,19 
.14 
.13 
.12 
.12 
,13 
,14 
.16 
,15 
.15 
.13i 
.16" 
.12 
.14 
.14 
.12 
.12 
12 


00 
00 
,50 
25 
00 
00 
50 
00 
25 
00 
25 
25 
00 
50 
50 
50 
,50 
00 
25 
25 
00 
00 
00 
00 
50 
00 


In. 

3,541— Dante,   Mask 8 

:{&42— Brutus,    "  22 

3-543 — Laocoon,   "  14 

3544— NioDe  "   12 

:i545— Zeus  or  Jupiter,  Bust 22 

3,546 — Lucius  Verus,  Mask 15 

3547— Omphale,  "     13 

3,548— Dying  Alexander,  Mask... .22 
" ^  .   ..  ,.        ^^ 

....16 
....15 
....15 
....18 

11 

12 

....12 
....12 
....10 
....  8 
....11 
....10 
...11 
....15 


II  00 
3  50 
1  25 

1  25 
3  ,50 

2  00 


3549— Apollo  Belvidere, 
3550— St.  Jerome, 
3.5,51— Vitellius, 
35,52-Slave,  by  M.  Angelo," 
35,53— Agrippa, 

4107 — Dr.Lindwurni,  Dead  " 

4108— Napoleon  III,      "  " 

4105)— C.  M.  Weber,      "  " 

4110— Kaulbach,            "  " 

4111— Mendelssohn,      "  " 

4112— Queen  Louisa,    "  " 

4113— Goethe,                 "  " 

4114— Liszt,                     "  " 

411,5— Schiller,                "  " 

4116— Moor,                    "  " 

4117— Child,                    "  " 

4118—     "                           "  " 

4136— Halineman,         "  " 


25 
50 
25 
00 
50 
00 
50 
25 
50 
25 
25 
25 
1  00 


,10 


1  25 
1  25 

1  25 

1  50 

75 

75 

1  25 


4138— Acropolis,  44  in,  long,  28  in.  wide,  9  in.  high $30  00 


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